By courtesy o [illegible] A. D. �BOBBY� LOCKE. South Arican Open O pen Gol Champion Champion ����, ����, ����, ����, ����, ����. Wearing his specially selected design in SPOREX.
THE MODERN TAILOR OUTFITTER AND CLOTHIER New and Revised Edition Edited by
A. A. WHIFE echnical Editor o “Te ailor and Cutter” assisted by Members o “Te ailor ailor and Cutter echnical echnical Board
General Editor o Earlier Editions
Te late A. S. BRIDGLAND, M.J.I. One-time Editor o “Te ailor and Cutter”
VOLUME I
HE CAXON PUBLISHING COMPANY LD. Clun House, Surrey Street, London, W.C.2
First Published .
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.March 1928
Second Edition .
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. May 1933
Tird Edition.
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November 1936
Fourth Edition .
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. January 1949
Te Publishers guarantee that the Binding, Printing, Paper, and Blocks or Illustrations used in this book are the products o British Workers.
PRINED AND BOUND IN ENGLAND BY
HAZELL WASON & VINEY L�� ALESBURY AND LOND ON .R. I
� P������ (o the Fourth Edition)
In undertaking the revision o a work which has been regarded or a number o years as a standard text-book o the Clothing rade, the reviser eels that tribute should be paid to its first Editor, the late Mr. A. S. Bridgland, one-time Editor o the ailor and Cutter , or his painstaking thoroughness. Upon this oundation the reviser’s efforts have been laid. Since the appearance o that first edition, many changes have taken place in all branches o the trade. In styles o garments and in methods o production, both the retail bespoke tailor and the wholesale clothesmaker have effected considerable reconstruction o their businesses. Outfitting, window-dressing, and general display-these, too, have altered much within the last twenty years. Te uture must bring urther changes-in the policy o the trade and in the tastes o its customers. Nothing can be regarded as static.
Te present edition o �� M����� �����, O��������, ��� C������� has been compiled rom that view-point. It takes account o all branches o the Clothing rade, and covers every aspect o its activitiestechnical, practical, and commercial. Present trends are careully described and uture possibilities are thoughtully indicated. Te Editor expresses his gratitude to all who have contributed to this comprehensive work, by means o the written word, by diagrams, and by photographs; and to Mr. C. H. Newstead, head cutter o Messrs. Alkit Limited, London, or the help and guidance he gave in the preparation o the chapters on Service Uniorms. All were chosen or their known ability in different sections o the trade; they have spared neither effort nor help towards a successul undertaking. o members o the ailor and Cutter echnical Board, in particular, the Editor passes thanks or their willing co-operation and assistance. A. A. W.
CONTENTS
VOL. 1 INRODUCION
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By GEORGE DINES (Managing Director, Gieves, Ltd., Resident M..B.A.).
CHAPER I SOME PROBLEMS OF HE AILORING RADE .
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GENLEMEN’S GARMENS�MEASURES AND MEASURING .
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By F. CHIHAM (Late Director, Harrods, Ltd.).
CHAPER II HOW O SAR SAR A CAREER IN AILORING .
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By A. W. ALLON.
CHAPER III HE PRINCIPLES OF CUING .
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By the late A. S. BRIDGLAND, M.J.I., and the EDIOR.
CHAPER IV ANAOMY ANAOMY FOR AILORS
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By the late A. S. BRIDGLAND, M.J.I., and the EDIOR.
CHAPER V YPES OF MALE FIGURE
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By the EDIOR.
CHAPER VI AKING HE ORDER
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By the EDIOR.
CHAPER VII By the EDIOR.
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CHAPER VIII GENLEMEN’S GARMENS�ROUSERS AND BREECHES CUING .
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GENLEMEN’S GARMENS�CUING FOR CORPULEN FIGURES .
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GENLEMEN’S GENLEME N’S GARMENS�V GARMEN S�VARIA ARIAIONS IONS FROM HE NORMAL DRAF .
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By the EDIOR.
CHAPER IX GENLEMEN’S GARMENS�WAISCOA GARMENS�WAISCOA �OR VES� CUING . By the EDIOR.
CHAPER X GENLEMEN’S GARMENS�JACKE GARMENS�JACKE AND COA COA CUING . By the EDIOR.
CHAPER XI GENLEMEN’S GARMENS�OVERCO GARMENS�OVERCOA A CUING.
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By the EDIOR.
CHAPER XII By the EDIOR.
CHAPER XIII GENLEMEN’S GARMENS�INLAYS GARMENS�INLAYS AND URNINGS .
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CHAPER XIV By the late PERCIVAL HICKE; revised by the EDIOR.
CHAPER XV GENLEMEN’S GENLEME N’S GARMENS�PREPARA GARMEN S�PREPARAION ION FOR RYING�ON .
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CHAPER XVI GENLEMEN’S GARMENS�RYING�ON GARMENS�RYING�ON .
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By the W. W. PIPER.
CHAPER XVII GENLEMEN’S GARMENS�MARKING UP AND RE�CUING AFER HE FIING By the EDIOR.
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CHAPER XVIII GENLEMEN’S GENLEME N’S GARMENS�ALERAIONS: GARMEN S�ALERAIONS: HEIR CAUSE AND CURE .
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CHAPER XIX GENLEMEN’S GARMENS�WES END MODELS .
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By R. J. PESCOD (Messrs. Adeney & Boutroy, Sachville Street, W.�).
CHAPER XX GENLEMEN’S GARMENS�ROUSERS MAKING .
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By PHILLIP DELLAFERA (Principal o the ailor and Cutter Academy).
CHAPER XXI GENLEMEN’S GENLEME N’S GARMENS�W GARMEN S�WAISCOA AISCOA MAKING .
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By PHILLIP DELLAFERA (Principal o the ailor and Cutter Academy).
CHAPER XXII GENLEMEN’S GARMENS�MAKING A LOUNGE JACKE JACKE . By PHILLIP DELLAFERA (Principal o the ailor and Cutter Academy).
CHAPER XXIII GENLEMEN’S GARMENS�HE SPORS SPORS JACKE JACKE .
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By H. J. WEAHERILL (Messrs. Bailey & Weatherill, Ltd., London, W.�).
LIST OF PLATES
VOL. I A. D. �BOBBY� LOCKE .
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. Frontispiece
AILOR AND CUER HOUSE, GERRARD SREE, W.� .
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FRON SHOP, MESSRS. COOLING, LAWRENCE & WELLS, MADDOX SREE, W.� .
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RECEPION AND CUING ROOMS�BAILEY WEAHERILL
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A WES�END FIING�ROOM .
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A WES�END COA WORKROOM�SULLIVAN, WILLIAMS & CO.
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SPORS JACKE DESIGNED BY H. J. WEAHERILL
OUSIDE AND INSIDE A FAMOUS WES�END HOUSE
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FRON OF HE H. J. WEAHERILL SPORS JACKE .
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HE MODERN AILOR , OUFIER , AND CLOHIER VOL. �
INRODUCION By GEORGE DINES (Managing Director, Gieves, Ltd., President M..B.A.)
A
N introduction to this excellent work should be constructive. I propose, thereore, so ar as in me lies, to subscribe to such a policy. It is very doubtul i in the intervening years between the two world wars the majority o specialist tailors were able to return to their pre-���� basis o business, in either quantity or quality. o a large extent this was the outcome, so ar as the tailoring trade was concerned, o the first war itsel, during which period very ew apprentices came into the retail bespoke tailoring trade. It was urther apparent during this time that the American ready-made system o tailoring was being taken up enthusiastically by a large number o British manuacturers, who were very soon able to produce suits and overcoats o such excellence that the “new poor” were tempted by price to purchase such garments. At the same time, the “new rich,” having had no experience in wearing clothes made by the best British bespoke tailors, did not patronise them when money was no obstacle to their doing so. Te result was that a kind o slow decline set in:’ the bespoke tailoring trade was not able to attract many new customers. It seems to me that since the period I am discussing the strength o the retail trade has not shown signs o increasing. Unortunately, it has to be admitted that the master tailors o Great Britain (outstanding crafsmen though they undoubtedly are) have shown, when it comes to selling their products, a strange lack o that commercial acumen so essential to success in business. Tey have been content to say-ofen quite glibly -that their reputation will sell their goods. I will leave readers to ponder on this subject.
I come now to a somewhat controversial matter. I venture to say, however, that it is one which should be given priority o consideration-or on this may depend the uture success o the retail bespoke tailoring trade in this country. We have passed through a second world war, the results o which have had—and are still having—serious repercussions upon the tailoring trade. Many changes are taking place, almost hourly. Te single-handed tailor, well on in years in ����, is now some years older. Te time when he will have to stop work altogether, is not, probably, very ar distant. His place is not likely to be filled at once. Is not this something which should be thought about? I we consider the matter o apprentices, whilst paying tribute to the efforts o interested parties (not orgetting the woollen merchants’ keen, helpul, and constructive contribution to the solving o the problem), We are bound to admit that it will be some years beore the really finished product is available to the trade. One cannot shut one’s eyes to the act that the high wages or young lads, obtainable in some other industries, are retarding the inflow o entrants to our own trade. Tinking now o the old single-handed tailors who preer to work on their own without assistance, I would say that their numbers are diminishing. I the oregoing actors are admitted, the question may be asked: “What is the uture o the really high-class bespoke tailor?” Here let me say it is my opinion that the finest examples o British crafsman tailoring can still be produced at as high a standard as any that were ever made by master men. Tey retain all the individual characteristics o the cutter’s art, even though such garments may have been made by a squad o three or our instead o by individual tailors.
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INRODUCION
Te uture success o the specialised bespoke tailoring trade will be enhanced in quantity, losing nothing in quality, when the genuine crafsman cutters and tailors ace up to the act that speedier production or world and home markets is really necessary, Subdivisional methods will help in this—they have, indeed, always been ound successul when tried out. Teir adoption, properly regulated, need not mean a lowering o standards, I met an American in one o the years between the two world wars who said he had been told by several leading tailors that it was not possible to give a firstfitting under a ortnight. (And that was during one o the slackest periods o the trade.) Tis man wanted five English suits in three weeks. He actually got them rom another firm-in ten days! Te latter firm apparently relied upon efficient squads. Te oregoing act, I suggest, amply illustrates the points previously made in this introduction. I reely admit that i the master tailors o the specialist order were to produce actory-made goods, constructed throughout on mass-production principles, the market or their goods would speedily disappear. Tat does not mean that in this introduction I am decrying the actory-made garment. On the contrary. It is just as essential or the masses as is a small mass-produced car. And I think it will be agreed, by people who know, that the �-h.p. car does not interere with the sale o the Rolls-Royce or other cars o high-standing quality.
It must be-and I am sure is-reely admitted by the wholesale manuacturers that their mass-produced garments can never be the types which will satisy every individual taste, in so ar as such garments are uniorm in design. Whilst they are excellent productions, o which Great Britain can be justly proud, there is that” something” which distinguishes them rom the genuine crafsman-made bespoke garments. ailoring carried out by the bespoke specialist is in an entirely different category. Clothes are produced having regard to the customer’s particular taste. His personal oibles are careully considered. Te question is asked: Does a customer wish to be dressed in clothes o such outstanding distinction that they “make” the man, or does he desire the suit which, whilst new, yet looks as though it is a part o himsel? A fine distinction! What, then, are the prospects or the bespoke tailoring trade in the years to come? Are they likely to be such as will make that trade appeal to young people as an attractive career? It seems to me that the answers to these questions can be given—even i not quite completely in times so changeul as these-by the trade itsel. Surely, with oresight and enterprise, this grand old trade can be given new lie and vitality. Let it go ahead, attending to its affairs in a spirit o optimism— not dismayed by the progress o the wholesale branch o the clothing industry, but determined to continue efficiently in its own sphere. I suggest that there should never be allowed to exist any eelings either o ineriority or superiority in the complex o one or the other o the two sections o that industry. Both are essential to the community: each has its unction to ulfil.
C������ I
SOME PROBLEMS OF HE AILORING RADE By F. CHIHAM (Late Director, Harrods, Ltd.)
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B�����
N this brie article I should like to confine mysel mainly to three points—viz. Policy, Buying, and Salesmanship; and the Growing Competition to which the trade has been subjected during the last ew years. Te latter I regard as the greatest problem o all, and is peculiar to the bespoke tailoring trade, in that it is a competition which threatens the very existence o many hundreds o persons engaged in the business.
urning now to the subject o Buying—this in the tailoring trade is highly specialised and does not cover much ground. With the exception o trimmings, cloth is practically the only commodity dealt with, so that it is not difficult to acquire a sufficiently good knowledge o materials to enable buying to be done with intelligence and discrimination. Every man in the trade, no matter the nature o his duties, ought to know something o the goods he is handling-the difference between materials made rom botany and cross-bred wools; abrics made rom wool or worsted; the qualities o homespuns, etc. Tis knowledge is a valuable asset and avourably impresses customers, and can be readily acquired at one or other o the technical schools. Further, every young man should visit a woollen mill and see or himsel the process o cloth manuacture. Stock-keeping and display are important points in any successul tailoring business. Stock should be readily accessible and invitingly shown. Stock that is out o reach is liable to be overlooked and to become old. However careully one may buy, some old stock is bound to accumulate-this should never be kept. It is ar better to turn it into money, even at a sacrifice, than to leave it indefinitely on the shelves. Old stock interests nobodythe salesman is tired o it and it rarely gets shown. New goods always sell more quickly, not always because they are better in design or in value, but because they interest the salesman more and are always shown first. In the ready-made branch o the trade buying is not so simple. Te buyer is here conronted with two problems—one o cloth and design, and the other o sizes. Te latter is the more important. Many firms run orty sizes, and in some materials all the sizes are required; but it is obvious that this cannot apply to all the patterns that may be carried in: stock. Sizes are the very lie-blood o the ready-to-wear: the pivot on which success turns. Bad sizes mean slow-moving stock. It is no part o the ready-to-wear trade to cater or reaks: that is the province o the bespoke. A large proportion
P�����
aking first the subject o Policy—it is very necessary to have an objective, something to aim at; and to know exactly what one desires to accomplish. Te first thing or a man about to engage in the tailoring trade to decide is in which branch to embark. Tere is a wide choice-middle class, better class, or cash trade. Once a decision has been reached, the wise plan is to adhere to it; this is most important, because no man or business can cover the whole field. Te high-class trade cannot make cheap clothes, nor the cheaper-class business high-grade garments. I do not think it always policy to acquire a reputation as “a specialist tailor,” or it tends to have a negative influence on the customer’s mind. For example, a firm specialising in, say, trousers is not likely to be patronised or dress suits. Te trade, in other words, is too circumscribed to be split up into sections in this way. It is better to cultivate an all-round trade, and so be in a position to supply as large a proportion o your customers’ requirements as possible. Nothing is more damaging to any business than a change o policy; It ofen results in ailure, and very rarely accomplishes any good. Get known or a certain “class” o trade. Determine that in that class your business shall be one o the best; don’t deviate or wobble—it is impossible to make a “cheap” suit to-day and a “good” suit tomorrow, both equally good in their respective grades. Te business must be equipped to handle successully one or the other, but it cannot do both-it is risking ailure to attempt it. �
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SOME PROBLEMS OF HE AILORING RADE
o the ready-made trade is done on staple goods— grey and blue overcoats; sports coats; standard design suitings, etc. Tere are our golden rules which apply to all businesses, and which every young man should make a point o remembering and acting upon: �. o put down all orders in writing. �. o compute profit on the selling price and not on the cost o the article. �. o pay all takings into the bank and draw cheques or all disbursements. �. o take stock at least once a year. S�����������
On my next point—Salesmanship—I eel somewhat diffident: so much has already been said and written about this simple, common-sense matter. Te psychology o business really resolves itsel into a capacity or putting onesel into the customer’s position, and the application o common sense to the matter in hand. I may say, however, that every salesman should be extremely particular about his personal appearance, in order to create a avourable impression. He must also cultivate a pleasing manner, or in the tailoring trade there is an unusual degree o intimacy between the customer and himsel. He should study his business, and make himsel master o all its ramifications—there are too many tailors in the world who do not hal know their trade; he should know his merchandise and what he has in stock. A salesman is not engaged merely to sell goods, but also to sell service, and to do this successully he should know something o the technique o the trade and be able to speak rom firsthand knowledge. He should also be able to try-on, and know when a garment fits and when it is properly made. Tese are some necessary eatures o his qualifications. He should make it a rule that when a sale is completed he has something else at hand to show his customer, so that urther interest is aroused and possibly urther orders taken; and last but by no means least, he should ollow through every case o complaint-or even tailors get them! We all know that sinking eeling when a customer sails in with a box under his arm—his
return is not looked upon with pleasure. But it is well to remember that he has previously given up much time to trying-on, etc., and his irritation is natural. It is also well to remember that whether he will remain a customer or remove his patronage depends entirely upon his reception and upon the manner in which his complaints are dealt with. Every dissatisfied customer presents an opportunity-which should be made the most o—o making him your riend or lie. Tis can generally be accomplished by courtesy, patience, and competence. F����� �� ��� T�������� T����
In looking at the probable uture o the tailoring trade one discerns certain problems which do not, at any rate in the same degree, beset other trades. ailors are all manuacturers: the raw material is their cloth, and the workroom is their actory. Many other trades have been subjected to the same tendency which one observes in the competition which besets the tailoring trade—i.e. the growth in the sales o the ready-to-wear garment. For example, the “made-to-order” shirt trade has almost entirely disappeared, and the same remark applies to collars, boots, and women’s clothing. Tis is not always because ready-mades are cheaper, but because in these strenuous times they represent a saving o time and trouble. Tere is, however, a great difference between the attitude o the average tailor to this competition and that o other traders subject to the same condition. We find the shirt-maker and boot-maker who ormerly depended largely upon making their goods to order have now added to their businesses departments dealing in the same articles ready to wear. But the tailor very rarely adds a ready-made department to his business, and yet no one is so well qualified as he to take a part, and an important part, in this rapidly growing branch o the trade. Hatters do a fine trade in ready-made overcoats; hosiers have developed ready-to-wear departments, but the tailor stands aloo-he who should be a pioneer, who should be leading and developing this new and important trade, seeing that it is derived rom and is being developed at the expense o his own business.
C������ II
HOW O SAR A CAREER IN AILORING By A. W. ALLON
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N an age o tremendous industrialisation it is good to know that one craf at least retains its position in the general scheme o things—as solidly important as ever. Indeed, the craf o tailoring in Britain has become more than just the means o making a living: it has become a undamental part o the British way o lie. For British tailoring is paramount—and, what is probably almost as important, it is acknowledged so throughout the world.
Not so your tailor. Tough there is a vast number o shops and workrooms where the crafsman maker o clothes can be employed, should he preer the more secure orms o trading there is always the possibility o individual contacts” that make that little extra ew pounds a week on the side.” Tat is why the tailor can always be independent—and particularly today when the shortage o first-class crafsmen, accentuated by the war years, brings added importance to the practical man.
Apart rom the act that British tailoring is paid homage by the rest o the clothing world, we must also take into account the relative importance o tailoring in Britain. Here we can number it among our most important crafs and industries; and rightly so or, next to ood, clothing constitutes man’s most vital necessity. ailoring, then, is a trade with an assured uture. (People will always want clothes—no matter which government is in power.) Coupled with the textile trade, it is orming the spearhead o our export drive, and is thus an important actor in British economy. Fashion plays an increasingly large role in our daily lie, so that young and old are all paying more and more attention to their appearance. Distinctions between the various classes have tended to diminish during the last decade or so and the steadily improving standard o living is allowing more and more o the population to attach importance to an instinctive eeling, inherent in the British character, that we should be always “. . . well and correctly dressed.” Obviously, a tailor is a good thing or you to be. First, you are assured o a place in a business that can never diminish and that has every possibility and shows every indication o expanding tremendously. Secondly, as a crafsman you have complete independence—or the tailor does not rely necessarily upon an employer or the tools o his trade. Te printer, the clerk, the retail salesman, the actory worker—all these must rely upon their employer or the tools and materials or their work and or the premises in which to carry it out.
o those young men who eel they are too young to settle down” it is the obvious answer to their thirst or a good job which will allow them to travel at will and yet have a trade to all back upon in whatsoever country or town they may arrive. For remember, the British tailor is respected and welcomed everywhere— and a knowledge o the craf, coupled with the weighty act that you learned that craf in England, is an assurance o a position in almost any town or country where European dress is worn. And, what is more, an assurance o a good income in return or your work. How, then, can you become one o these crafsmen? Well, first you must decide which branch o the trade you wish to ollow. Do you wish to be a tailor or a cutter? For though the word “tailor” has been accepted by the layman as embracing all the people who work within the trade, the ailor, correctly translated, is the man who stitches together the pieces o cloth and joins up the jigsaw o cuttings that have been produced by the Cutter. Te Cutter measures, cuts, and fits the suit. Te ailor actually “makes” it. It is, o course, advisable to be proficient in both sides o the craf (tailoring and cutting), or it is a tremendous advantage or the cutter to know the difficulties o the making side—and vice versa. I would advise young crafsmen, wherever possible, to learn as much about both sides o their trade as they can. �
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HOW O SAR A CAREER IN AILORING W��� �� L������� ��� C����
However, having decided to enter the trade, you must ollow one o the several ways o learning the undamentals. Older readers o this chapter may be thinking that the making o a crafsman is a very long job—and, indeed, I hold out to you no hope o becoming an accomplished tailor or cutter in a ew weeks or even a ew months. It is not possible or the average person to learn enough to be accepted as a “journeyman” in a short time—but it is possible or the average person to learn the undamentals o the craf in a relatively short period. Once he has acquired those undamentals, he can rely on an accumulation o experience and his own particular aptitude to help him improve to the point o qualification. For, have no doubt about it, those with the greatest aptitude will find the greatest success. Like all arts and crafs, tailoring has its great figures and its leading artists.
Te National Federation o Merchant ailors, go Regent Street, London, W.�. Te Bespoke ailors’ Guild, �� Golden Square, London, W.�. O the other methods o learning the trade I can tell you more. In London, and in certain provincial towns, there are schools in which entire sections are devoted to both tailoring and cutting. Te Government Vocational and Ex-Servicemen’s raining Centres are also doing a share in turning out, or “brushing up,” potential members o the trade. Some o you who are lucky enough to live in Metropolitan areas will have local Council evening classes, and though I am no~ conversant with ees charged by all o them, I have known quite a ew fine crafsmen whose trade knowledge originated in these classes.
I have not space, o course, or a treatise upon the respective ees charged and the various syllabuses Where, then, can you acquire the undamental offered, but I can mention a ew in order to give some knowledge that will help you to go on and become a idea o the charges that might .conront you i you join real success in tailoring? one o these schools. At the Regent Street Polytechnic, It is still possible to become an apprentice to the in London, you may learn either tailoring or cutting, or trade; but though I do not by any means discourage this both, and the charges are as ollows: method o entrance, I am orced to acknowledge that the For Evening Classes: Single class weekly, �� per number o trade apprentices these days has definitely session. wo evenings, same subject, �� ��s. Grouped decreased. Te more popular method o learning the course (� evenings), ��. Grouped course (� evenings), trade seems maniested in the trade schools, which are �� ��s. turning out some extremely proficient young men—and Te evening classes are primarily or the improvement in a much shorter time than one can expect rom an o those already engaged in the trade, so you might have indentured apprenticeship. some difficulty in getting enrolled. Te reason or the relatively short time that is taken At the time o writing, the Polytechnic day classes by the schools is that they are teaching all the time, and the student is not wasting valuable periods in sweeping are open to all (whether or not the aspiring student is out the shops, running errands, making tea, or doing all already connected with the trade); but a reorganisation the other little jobs that have become an offshoot o the is pending, and whether this will affect the entry rules it is difficult to say at present. Another o the London apprentice’s lie in any trade. Schools is the Sir John Cass Institute, in Aldgate. Should you decide, nevertheless, to enter the trade by Here is provided a graded training or those over the becoming an apprentice in a tailoring house, I advise you to get in touch with the secretary o one o the trade age o sixteen. associations beore you cast your final vote or a masterteacher. Write to the National Federation o Merchant ailors or the Bespoke ailors’ Guild, and they will put you right on your method o approach and even advise you o firms that are willing to employ you. Teir addresses are as ollows:
Te courses are or male students only, and I would draw special attention to the part-time day courses in Pattern Drafing and Practical ailoring in men’s garments. Tese classes, which may be taken in conjunction with corresponding evening courses, are held on Wednesday and Tursday afernoons rom �.��
HOW O SAR A CAREER IN AILORING
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teachers say that their success is due to the act that the classes are small, the instructors are plentiul, and the students are taught individually. Classes are not kept back to the speed o their slowest member and, Communication with the Sir John conversely, no individual is pushed Cass Institute, Jewry Street, Aldgate, orward into a new phase o study London, E.C.�, will obtain or you a beore he has completely mastered more comprehensive syllabus than the last. For such an individual limited space will allow me to give trade as bespoke tailoring, it is advisable that students be regarded you here. as individual crafsmen and treated Finally, there is the school that and taught accordingly. Tat kind has come to be regarded as the o treatment and instruction is given University o the tailoring trade. at the ailor and Cutter Academy. Like the great tailors o England, it Te school at Gerrard Street is ound in the West End o London, �� Gerrard Street (near Piccadilly provides practical tuition in Circus). Students rom all over the measuring, designing, drafing, world go to the ailor and Cutter cutting, tailoring, and fitting o ladies’ and gentlemen’s garments. Academy or their training. Every branch, phase, and detail Te ailor and Cutter Academy is the oldest tailoring academy in the o tailoring is embraced. Tere are country. It was ounded in ���� and no limits to the types o garments its work has been bound up with in which instruction is given. Some the trade ever since. It is probably students take, over a period o years, the most expensive o the tailoring a number o these courses at the and cutting schools, but, afer all, Academy. Tere are Diploma Courses or Oxord and Cambridge are more expensive than secondary schools beginners and Specialised and and the ailor and Cutter is the trade Reresher Courses or trained equivalent o Oxord or Cambridge. crafsmen. Special arrangements At this Academy, I think, the most can be made or those desirous comprehensive tailoring education o taking both Diploma courses is offered and the most personal and covering ladies’ and gentlemen’s individual training. Te Academy garments. to �.��, and the instruction includes elementary measuring, drafing o trousers, waistcoats, coats and overcoats, and basting or tryingon, including the marking o deects and adjustments.
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HOW O SAR A CAREER IN AILORING
Special acilities are available or lady students. Te cutting method taught is “flat cutting” or, as it is ofen misnamed, the American method. Te Academy adopted and were teaching this method— as opposed to the French or draping system—orty years beore American manuacturers adopted it. It is the only method by which patterns can be produced expeditiously and accurately or commercial use. Te ull course at the tailoring school lasts six months and covers all aspects o tailoring rom elementary needle exercises to the production o a finished garment—coats, trousers, plus-ours, breeches, etc. Te ee or this course is ��� ��s. Te Diploma Course (� months) in the Cutting School can deal entirely with gentlemen’s or with ladies’ garments, or can cover a selection o both. Te ee or this ull course is ‘���. Tere are also Specialised Courses o two months and Reresher Courses o one month, costing ��� and ��� respectively. A course o Evening Classes (�� lessons in either tailoring or cutting) will cost ���. One part o the ailor and Cutter Academy’s policy, however, has always been to serve the trade as well as to train its necessary crafsmen. Recently, due to the shortage o crafsmen occasioned by the war years, the Academy was approached by the Woollen Merchants’ Development Company, Limited (a powerul organisation within the trade), with a proposal whereby
orphans and young people o proved limited means might receive financial assistance up to the ull amount o the ees charged. Tis should assure a constant flow o crafsmen into the trade. Te instruction given at the ailor and Cutter Academy is regarded very highly in the trade itsel. It is considered that students leaving the Academy afer a six months’ course will have knowledge and useulness equal to that o the average learner or apprentice who has been indentured or three years; and can ask or equal pay. Tis speaks volumes or the arsighted policy and the spirit o progress actuating the leading personalities in the industry. Here is vision and enterprise to meet the post-war world; determination to keep British bespoke tailoring in the oreront o world commerce. Te trade wants new recruits to establish an even more solid basis or its uture, and it is prepared to go a long way in making itsel attractive. Its brighter workshops, its higher wages, its schemes or aid to those unortunate enough to need its help— all these are a maniestation o the act that i you want a career you could not do much better than enter the tailoring trade. N.B.—Te ees I have quoted are those in operation at the time o writing. It will be realised that these are subject to change.
C������ III
HE PRINCIPLES OF CUING By the late A. S. Bridgland, M.J.I., and HE EDIOR
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UCH interest is taken in systems o cutting by tailors, but less attention is paid to principles. Tis is strange, because the same principles underlie all systems, and without a knowledge o the ormer the latter are o little avail. Te word “principle” may be
attached to so many phases and eatures that to deal with everything to which the word might apply would need extensive space. Tereore, only two or three subjects are selected or special notice, the others being included in the general articles.
B������
Balance is the most important principle in cutting, and it is as well first to define it. It is the equality or just proportion o weight, orm, length, etc. ; equipoise or counterpoise. In tailoring, balance is generally defined as the relative length o back and ront or o two sides. It is sometimes thought o as the relative length o the back and ront o a coat-that is, the height rom the depth o scye line up to the nape at back, and rom the same line up to the neck point in ront ; or, in lieu o the latter, rom the ront o scye to the neck-point. Te general hang o a garment is also reerred to as the balance. Balance may be called, as has been said, equipoise or counterpoise ; orces acting in harmony ; parts arranged in unison. Te sections o a garment are in equilibrium when they severally act and re-act on each other with equal orce. When there is perect unison between the various parts o a coat and also with the figure it has to cover, then there is balance.
i drafed out or a proportionate figure. Every system has its equality o ratios, whether worked out by direct measures, shoulder measures, or chest measures. Another type o balance may be called natural balance. Tis is where the balance o pattern or draf is equal at back and ront ; where the ront and back sections show an equal proportion, although they may not agree with the breast measure. For instance, a pattern or a ��” breast man might show �½” depth o scye and an equal decrease o ront ; or a �½” depth o scye and an equal increase o ront. Tere would still be equipoise, but it would not be the ideal balance as we understand it. Although the lengths are equal, they are not in an ideal ratio with the breadths. A third type may be named specific balance. It is obvious that we may have a draf, pattern, or garment where there is neither the ideal balance nor the equipoise which has been called natural balance. Te ront and back lengths may not tally ; the scales tilt up or down, as it were ; and yet the draf, pattern, etc., would be correct or a specific figure. Tere is the just proportion but not the equal proportion. Tis would be the case in various figures, such as the stooping, erect, etc. But the simplest example is that o a lady’s coat, where there is a considerable difference between the back and ront lengths, necessitated by the demands o the figure.
Tis principle crops up in every garment and in almost every section, and enter into cutting, trying-on, and making. Te poise o a garment is ofen destroyed by careless making. We have it on the authority o Holy Writ that a alse balance is an abomination, and it is certainly the cause o most o the deects which trouble a cutter!
As a general definition, balance may be said to be the harmonious arrangement o the ront and back or two sides with the attitude o the figure ; this applying to coats, vests, trousers, sleeves, etc.
An important point is the effect that suppression has upon balance. Te length at back and ront may be very evenly adjusted above the breast line ; and yet the equilibrium may be upset by an excess o, or incorrect arrangement o, suppression. Suppression, or the distribution o material at waist, is vital to the balance o ront and back.
Tere are several kinds o balance. Te first may be called ideal balance. Tis is the size or balance o a draf, pattern, or figure, reckoned by a proportion or division o the chest measure, or by a strictly proportionate system o mensuration. Tis is the balance a system would give �
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HE PRINCIPLES OF CUING
What makes the question o balance less simple than it otherwise would be is that not only must it vary with different figures but also with different garments. A waistcoat requires a very long back balance ; a body coat also needs a long back balance. Te balance o a jacket varies according to style: a close-fitting, well-suppressed lounge needs a longer back balance than one o a loose straight-hanging ashion. A relatively long ront balance is necessary or an overcoat at any time ; and ofen or style reasons a short back balance must be inused. In ladies’ coats the correct standard o balance is obtained, not by giving an equality o length at back and ront, but a just proportion. Compared with a man’s coat, a woman requires one short in the back balance. So ar as style influencing balance is concerned, the same remarks apply to ladies’ as to gentlemen’s garments. A loose sac will require a short back balance to distribute the material correctly ; and a close-fitting coat will need, relatively, a long back balance. Cutters who specialise in ladies’ garments (and ofen those who are engaged in the wholesale trade) not only pay attention to general balance, but also to that particular balance which governs sections. Especially is this the case in a coat with many seams, where balancemarks are placed at the waist and other parts, and also in the sleeves. Balance is a actor in sections o a garment, and notably with sleeves. Te hang o a sleeve means a lot in comort and appearance ; and it may be affected in various ways. Te distance between the top o hindarm and orearm may be altered by raising or lowering the points ; but the balance can be tilted one way or another without touching those points. It is possible to swing the bottom o orearm backward or orward by inserting or taking out a wedge at hindarm ; or by a suitable arrangement o lines to draf a sleeve in harmony with these changes. Te pitching o sleeve ofen decides the balance. While it is true that a badly hanging sleeve may be due to aulty pitching, it is also true that many good sleeves owe much to an intelligent adjustment in that direction. In trousers we have various kinds o balance. Openness and closeness is really a sort o balance. Tere is, too, the change brought about by cutting a orward ront and its concomitant, an open or crooked seat. Tese are general types. Tere is the special one necessitated by the stooping figure, which calls or a short ront and a long back ; or the erect one which demands a long ront
and a short back. Tere is also that particular balance, required or a corpulent figure, o extra length o ront and corresponding shortness o back, accompanied by a more open cut in the legs. Ten there is the balance o the topside on the underside, that the parts may lie “air,” or which marks or “nicks” are placed. Te tilting o the scales one way or the other by aulty manipulation will ofen have disastrous effects. And there is the deliberate change o balance-marks or prominent calves or or prominent thighs and calves. Tere are many ways o altering balance. One may draf out a coat and impose a change, or take a careully adjusted pattern and make variations rom it. For a longer ront balance an addition can be made across the shoulder, or the side-seam point lowered. For a short back balance a piece may be taken off at neck and shoulder, or the side-seam point o back raised. For a short ront balance the shoulder or the side-seam may be utilised ; and or a long back balance the neck and shoulder may be raised, or side-seam point lowered. Again, there is the wedge method o varying the harmony ore and af, in accordance with the necessities o the figure. In a body-coat the length o orepart at ront may be varied or the type o man who bends orward or backward, while the skirt section can also be regulated. In a finished garment the methods o altering the balance are restricted ; not that the same changes could not be made as in a pattern, but some alterations would appreciably lower the profits on an order. In a made-up coat, then, the side-seam is utilised, when possible, and the back or orepart passed up or down as the case may be.
Very briefly, some o the effects o incorrect balance may be indicated. A long back balance causes a looseness about the top o back and a closeness on the hips. A short back balance will cause the coat to stand away at the hips and to all away at the back o neck. A long ront balance produces a garment which alls away at ront and hangs away at the back ; i buttoned, the extra length would show itsel at the chest. A short ront balance lifs the coat up at ront and makes it uncomortable. Tese deects would also affect the scye at back and ront.
HE PRINCIPLES OF CUING
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W���� S����������
Waist suppression, or the distribution o width at waist, is not merely a matter o size. Its effect is much more than local. Like so many eatures in cutting and fitting, it proves that sections are interdependent, and that cutting is a matter o co-ordination. A garment is a sort o organism, each part having some bearing on the others. You cannot isolate a section, or even a principle, that seems to have only a restricted influence. A shoulder is altered-and chest, scye, and other parts are changed. You tighten at one place and throw looseness at another. Tat a coat may fit admirably until the sleeves are in has become a cutting-room platitude ; a collar may turn a fit into a convulsion! Tereore waist suppression has more ramifications than appear on the surace. It affects the blades and the hips, and acutely influences balance. Incorrect distribution o width at waist throws a coat entirely out o gear ; a garment may be large enough in actual size and yet not” meet” in ront. Cuts in the orepart, by the way, ofen make a coat tight-fitting—unless an extra allowance has been made. Sometimes shoulders have been careully adjusted ; and yet blades are ull, ront o scye tight, and shoulders creased, through overhollowing at waist. Te act is that the waist is a vital point, and too much consideration cannot be given to it. At the risk o repetition, it may be said that the upper and lower sections are mutually dependent ; and i they are not cut in harmony with each other, and in unison with the figure, trouble ensues. Reverting to the question o sizes and suppression: some figures are hollow at back, others are hollow at sides, and others still may recede at ront, and yet all may be the same size. From these varieties or inequalities in the hollowness o the figure it will be seen immediately that suppression is dependent on the orm o the waist and its relation to other parts o the figure, independently o the actual circumerence. o give concrete instances: one may be quite normal in size o waist and yet be airly flat at back, with either extra hollow at sides, or a receding ront waist ; or extra hollow at back with a orward ront. Some men with increased waist measure require just as large suppressions at sides and back as a normal figure. Big men sometimes require comparatively large hollowings, while men whose waist girth is normal may need them small. Te shaping o the back depends on the attitude o the figure, while that
at the side is governed by the orm o the waist. o sum up: we come to the axiom that suppression is affected by attitude and orm rather than size. It has been said above that suppression governs balance ; but it is also true that balance governs suppression. Over-suppression will throw the balance out, but incorrect balance will nulliy or modiy suppression. As an instance o this it may be pointed out that the suppression may be quite correct or the figure at the back, and yet, let the back balance be short and the coat will not fit in to the waist. It has ofen been said that the principle on which waist suppression should be based is, to find provision or prominences, to create ullness. Tis statement or definition is open to argument. As a rule the hips and chest are larger than the waist, it is true ; but when cutting a coat it is made large enough at hips and chest and then taken in to fit indentations o waist. Presuming that you had cut a perectly straight or loose-fitting sac or a man and then wished to make it close-fitting at waist, you would carve out, shape, and suppress-not to find receptacles or prominences and curves, but or fitting into or indenting the hollows. Te same thing applies i you cut a close-waisted coat to start with. Tat to take in or suppress unduly will throw a round or ullness at another place may be admitted, but not that it is the primary object o waist suppression. I you take the case o the suppression between back and sidebody, and say that it throws a round over the blades, one may ask whether this could not be done by overlapping the side-body as was done in the old days. And that brings me to an interesting point. I you look at old systems, such as the I Old Tirds,” which were drafed with closed parts, what is the conclusion to which you are inevitably led? Tat the problems o waist suppression, as we understand them to-day, are the outcome o the modern method o drafing coats in the square. I you draf a coat with closed parts it is then merely a question o size and balance. Te ollowing methods o distribution o width have been given in respect to corpulency: When the waist measure only increases and the chest and seat remain normal, the increase should go to the ront.
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HE PRINCIPLES OF CUING
DIAGRAM 1. When the seat and waist increase proportionately rom the normal, the increment should be added at the sides only.
When the seat only increases hal the amount o disproportion at the waist, the increase should be distributed equally at ront and sides. When the seat only increases and the waist and chest remain normal, the side-body indentation should be reduced and a cut taken out o ront waist. It will be as well to consider the methods adopted in a ew systems o dealing with suppression. A wellknown method, first published over fify years ago, was ounded on a combination o height and width measures, ollowing Wampen in this respect. Te authors direct special attention to the arrangement o the elements o height and width in the system, as governing the depression at waist. Tis important point is based upon the degree o affinity existing between the two particular, quantities o length o waist and size o chest or scale, and vanes according to their difference. Te waist length must be taken with the greatest care between the collar-bone and the point on a line with the greatest indentation o waist. o regulate this hollow o waist in the system, the two above-mentioned quantities must be ound, and then, by comparison, ascertain the smaller o the two ; this is the one always to be used as the standard or finding the exact depression.
But we may airly ask: Is this principle a correct one? I you ollow it out to its logical conclusion it means, ofen, that the taller the man the greater the depression, irrespective o the size o waist. Height should not enter into this subject at all. Te old method adopted by Wampen and many others beore and since was to take the ��” waist and ��” chest as a standard, or, rather, �” less waist than chest as a strictly proportionate size. Modern authors have taken �” less as a proportionate standard, such as ��”, ��”. It may also be noted that some men have discarded this as a base rom which to work. It has been argued that, although these may be the dimensions o a standard figure, the dimensions o a figure are not the mathematical standard. Te square is the mathematical standard, thereore the square o the chest or an equality o chest and waist is the real basis or standard o departure. Ten one-third o the excess would be placed at side and two-thirds at ront. Te accompanying diagram illustrates general methods o arranging suppression. From the centre o back at � mark orward two-thirds o the scale to �. Square down rom � to the waist at �. Measure up the back � to � and the side-body � to � ; place that amount at � and continue to � hal waist plus �”.
Ten rom � measure orward to � at centre o ront line the other hal plus �”. Te same principle is adopted in an alternative method. In the case o ��” chest and ��” natural waist length, Mark orward rom back-seam at � hal scale to �. the latter, being the smaller quantity, the twelfh o that, Square down rom � to � at waist. �⅜”, would give the depression. I ��½” chest and ��” natural waist, the chest, in this case being the smaller, In this case make the back parts one-third o waist plus �” ; and the ront rom � to � two-thirds o waist plus �”. would be used.
HE PRINCIPLES OF CUING
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S����������� ��� C����������, �� ��� L������� �� ��� N���-�����
Tere is nothing which has caused so much discussion in the tailoring trade as the position o the neck-ront. Te reason or this is that so many have thought there should be a fixed position which, when ound, would solve a number o difficulties. But it may be said at once that it is impossible definitely, rather than approximately, to locate the neck-point. Te nearest approach to a solution o the problem is by a sweep rom the ront o scye intersecting a line squared up at a certain position in advance o the ront o scye ; or o a sweep rom the ront o scye intersected
by another sweep rom the centre o ront on the chest line-the latter having a quantity added sufficient or the working up o the ronts. I the centre o ront is arranged correctly, and, ollowing that, the position o the ront o scye by the across-chest or other measure, and the length o ront shoulder by the ront-shoulder measure then the basis o a good-fitting ront is assured Te position o the line squared up in advance o ront o scye (or the amount added or second sweep) is flexible because o the varying requirements.
T���� G�������� F������
Te position o the neck-point is influenced by the diameter o neck, prominence o chest, and the amount o manipulation that is to go into the garment. Tese, in their turn, are governed by subsidiary causes. Te point is this: the breast is round, but the centre o breast is not. I the right length o cloth be given up the centre o ront to shoulder, there must be some superfluous cloth either near the scye or at the ront edge ; and one must decide where this is to go. A straight cut orces the cloth towards the scye ; a crooked one pushes it towards the ront. I the latter, then it may be removed by means o vees or manipulation. O course, it must not be orgotten that the exact position o neck-point is also influenced by the type o figure in various ways. I a man is broad across the chest the ront o scye will be backward ; the converse holds good in case o a narrow ront. Again, supposing the figure is long in the neck, the ront-shoulder measure will be increased and the neckpoint raised, independently o other considerations, and vice versa with a low neck. o move the neck-point orward or backward, in a straight horizontal line, is not true straightness or crookedness ; this partakes more o openness and closeness. In orwarding or receding, the arc should be pivoted rom ront o scye ; thereore a straighter cut is slightly depressed and a crooked one raised.
Te location o the neck-point is affected, as has been said, by the amount o manipulation to go into the coat. Tis is governed by various considerations. I a customer is prominent is the chest and erect, the neck-point must be receded, to gIve more length to the centre o ront ; this extra length allows or working up, or taking out vees, to give orm to the chest. Te class o trade is another eature which has a bearing on the subject. In some high-class trades it is notorious that a more crooked cut is desirable, because o the extra manipulation. But there are also some amous houses which cut their shoulders decidedly straight and short-thus to allow or a lot o straining out with the iron. Where little manipulation is expected, a relatively straight cut should be given. Makes o material should also affect the placement o the neck-point. Some materials do not lend themselves to working up, hence the necessity or a straight shoulder. Te style o coat will also directly influence the cut. For instance, i a coat is to button up to the neck, it will take a less crooked shoulder than i it rolled to the waist. A coat that is always to be worn unbuttoned requires a relatively crooked cut, and or this reason: A straight cut, as stated above, orces the material towards the scye, while a crooked cut throws it on the ront ; obviously an unbuttoned coat, having no support in the way o astening, needs the treatment which will not tend to pull it away rom the ront o chest.
C������ IV
ANAOMY FOR AILORS By the late A. S. BRIDGLAND, M.J.I., and HE EDIOR
I
is not necessary or tailors to make a close and comprehensive study o anatomy or the purposes o their work. Neither is it o much service to them to stuff their brains with a list o harsh-sounding and unamiliar terms. But that it is advisable or the man who wishes to get his living by garment cutting to possess a knowledge o elementary anatomy, ew will deny. Almost all supremely successul cutters are amiliar with the shape and ormation o the body, the laws o increase and development, the joints and their movements, and proportions. I every customer were normal and proportionate, fitting would be an easy job, but the majority o men and women possess peculiarities o orm, carriage, and development. Different types o figure are to be ound in different districts, and the tailor finds it a rule rather than an exception to have to clothe the disproportionate, abnormal, ungainly, and deormed. It is in coping with all sorts o malormation that an acquaintance with the unctions and limitations o the bones, and the location and increment o flesh, is helpul. For those who wish to make a deeper study o the subject there are many handbooks, but or the present purpose only a ew o the essential points are touched on, with an avoidance o scientific or proessional language. Te general architecture o the body is that o a trunk, a head, and our limbs; these are built round a scaffolding o bones. Bones, unlike muscles and flesh, do not expand, and when maturity is reached development ceases. Tis rigidity has a bearing on the work o the tailor. As the bodies o men and women tend to put on flesh in middle age, the limbs will become shorter; because while the trunk increases the bony structure remains stationary. As the distance rom the centre o back is, say, ��”, while the width o back in the normal is �”, and in the outside �” (these amounts are merely illustrative), the sleeve length in the latter must be correspondingly shorter. Te length o leg also decreases in a similar manner, or the accumulation o at lowers the ork and this make~ the length less.
Another deduction is that i the slope o shoulder rom the nape o neck to the top o the shoulder is �”, then (comparing the normal and outside widths o back) there must be a different degree o slope o the two triangles, represented by � and �, and � and �. Te latter is obviously less sloping, or the rise in one is � in �, and in the other � in �. Tis is the reason why people who have grown stout are squarer in the shoulders and shorter in the limbs than in their lean years. T�� J����� ��� T���� M��������
Tere are three different kinds o joints, each adapted or its purpose and position. Te first is the gliding joint ound in the backbone, waist, and the arch o the oot. Tis joint allows o a restricted movement in any direction. Te figure may bend orward or backward, to the right hand or the lef, or to any point o the compass. Tis versatility o movement makes possible the skill and power o the hand and oot. From our standpoint it is the backbone which claims attention, or it is not only the oundation o the bony structure o the body, but the starting-point or many measures and calculations in cutting. Its mobility impresses upon us that we have to clothe an animate figure and not a statue; and that there must be reedom or a range o movements with no unsightly excess o material. In the limbs the first joint is always o the ball and socket, or cup and ball, arrangement. Te hip, shoulder, finger, and toe are each created in that way. Te most restricted o these is the hip, where the socket takes on more o the cup orm. Tis is necessary, or i the hip joint were as ree as the shoulder it would be unable to carry the trunk as required. Te movement o the hip, however, is quite ree enough or its purpose. It must be realised that as the thigh-bone revolves in this socket it still keeps the same length; and that the size o the leg is much greater than the bone, while the flesh joins up between the legs. It ollows that, as the legs are opened out in a straddling position, the inside o the leg
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ANAOMY FOR AILORS
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increases and the length over the hips decreases, so that leg garments or riding or extended movement should be cut open. Te next point is that sleeves must have a certain amount o extra cloth at the top o the hindarm, or the arm could not be brought orward, which is the more general movement. I nature be ollowed, the cutter will so adjust the material that sufficient room is provided or all movements, while avoiding excess. When the trunk bends at right angles to the legs, as in stooping or bending, there is a considerable addition to the length over the seat; provision must be made or this or ~e garments will be unwearable. For this reason seat angle is inused into trousers and breeches. Tis term describes the increased length given over the seat when the angle o the body is acute-the greater the bend the greater the angle. Te second joint in each limb is o the hinge pattern, and, like a gate or a door, it will move backwards and orwards in one direction to a limited extent. Te knee joint is a perect example, though the second joints o the fingers and toes are similar. Te elbow partakes o the same general type, but is provided with a rolling movement which makes possible the movements o the hand. Tese motions are catered or by making the garments easy-fitting, to avoid some o the strain that would result rom the increased length on the outer bend, and the reduction o length on the inside. Even so, we are aced with such problems as baggy knees in trousers, the necessity o extra length over the knees in breeches, and getting rid o surplus material rom undersides. Tere are helpul and practical lessons to be gained rom a consideration o anatomy; and it matters not what system is used, they must be recognised and applied i successul results are to be obtained.
I the backbone always remains near the skin, and a man’s waist increases �” or ��”, it is clear that the increment must take place at the sides and ront; and experience proves that the usual proportions are at the sides one-third, at the ront two-thirds. Te shoulder remaining near the surace indicates that the slope o shoulder as rom nape to shoulder level still stays at, say, �”; so that the only actor is the increase o width rom centre back to shoulder. Te elbow and orearm have but a minor effect on cutting; but the hips and shins teach that any increase or decrease in the circumerence o the thigh takes place mostly on the inside and o the shin at the back.
I���������
Te extended arms are equal to the height. When the arms are raised above the head the height is increased by two heads. When the arms and legs are extended so as to orm a St. Andrew’s Cross, the lines cross each other at the navel. Hal the length o the orearm finds the elbow. Te length o the orearm agrees with the natural waist length. Te hal-width o back equals one-fifh o the circumerence o chest. One-hal o the across-chest equals one-ourth o the size o chest less �”.
Tere are certain parts o the body where the bones always remain close to the surace. Te flesh does not develop equally on all sides o bones, but is located in appropriate places. Tere are also certain places where increases never take place and others where they generally do. Te bones which always remain near the surace are the spine, the shoulder, the elbow, the orearm, the hip, the knee, and others which do not concern us.
P���������� ��� F������ L������
Artists and others have studied and classified various proportions o the body; and although these are o the “ideal” order they are useul to cutters as a basis and guide. Work and environment and other causes have decided effects on physical conormation and development, so that where possible it is advisable to treat each figure on its merits. Tis can be accomplished by close observation ortified by the various measurements dealt with on other pages. Te unit o division or the height is the head; and in this connection a study o the figure on page �� is instructive:
�st head, hair to chin. �nd head, chin to nipple. �rd head, nipple to navel. �th head, navel to pubic organs. �th head, pubic organs to end o fingers, with arm at side, or mid-thigh. �th head, mid-thigh to small below knee. �th head, small to lower leg, just above the ankle. �th head, lower leg to ball o oot, standing tip-toe.
ANAOMY FOR AILORS A ew more such guides are: Slope o shoulder equals one-sixth o natural waist. Depth o scye one-sixth o chest measure plus �”. Centre o back to the ront o scye one-ourth chest plus �” to �½”. Front shoulder oneourth chest plus �½”. Over-shoulder one-third chest plus �”. Nape to bottom o ront o scye, taken diagonally rom top o back-seam to ront pitch o sleeve, one-third chest plus �”. Knee rom ork �” less than hal length o leg; small, �” to �½” below knee and cal about �” to �½” below small. All the above deal with the proportionate or ideal size. Te short check measures noted above are incorporated In certain direct-measure systems, such as the Cutler’s Practical Guide System o W. D. F. Vincent, one-time Editor o the ailor and Cutter , and the “Climax” System o W. E. Leggatt and . W. Hodgkinson.
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Style and Fashion are continually changing-though not so noticeably as in ladles clothes. Changes are dictated by taste, by general trends, and by the creative ideas o dress designers. It must always be borne in mind that cutters have to provide clothes that will please the customers they are serving. Whatever anatomical proportions may suggest in the matter o style and line, the customer will have his own ideas on the subject o his dress. Tereore, the cutter, whilst he will, i he is wise, acquaint himsel with certain parts o the human figure, must not let his judgment become set in this direction. He must study his customer’s mind as well as his body. Bearing this in mind, and allowing or the changes which times and localities may bring about, the cutter can quite advantageously work out a useul table o ashion lengths on the ollowing lines: First decide on the ashionable lengths o the various garments or a given figure, thus (height �’ �”): Lounge, ��”; morning coat, ��” ; evening dress coat, ��”-��” ; Chesterfield. ��” ; waistcoat, ��”; these may be varied according to the district or class o trade. Te eighth o �’ �” is �½”, which is the unit. Tereore the lounge equals � heads plus �½” ; the morning coat equals � heads plus �”; the evening dress coat equals � heads plus �”; the Chesterfield � heads plus �½” ; and the waistcoat � heads plus ½”. C���������� A������ A brie reerence may be made to comparative anatomy. Te little child has very short limbs and a relatively large head; the limbs gradually develop until they assume their true proportions; when the youth stage (age o puberty) is reached, the shoulders are relatively large to the chest, as the latter has still to be developed.
FIGURE 1.
Figures past the prime o lie that have grown stout have shoulders which are small in relation to the chest. Women are usually about one-sixteenth shorter than men. Teir limbs are shorter, shoulders small, neck and waist small, hips and legs to knee larger, ribs smallerconsequently there is a greater distance between the bottom o the ribs and the hip-bone, and the figure generally rounder in its developments. Te back is flat and narrow, and the chest prominent and wide, with the result that women have a more erect carriage.
C������ V
YPES OF MALE FIGURE By HE EDIOR
It has been thought or some time that the term HERE are so many different types o figure that it is, not practical to give descriptions o them all. It “normal” should give place to that o “standard.” Certainly, is possible, however, to consider certain types which are there might be some likelihood o establishing what is encountered requently by cutters in the course o their most generally agreed to be a standard, or average, figure. daily work. Figure A represents what might be thought at the present
For this purpose the accompanying illustrations (Fig. �) have been prepared. Te figures shown here may be taken as airly accurate examples o the types they are intended to portray. Exaggeration o particular eatures is designed to give clear impressions o characteristics which the reader should train himsel to note when measuring customers. What is a normal figure? Tis question is not easy to answer in a direct manner, or cutters themselves are by no means unanimous on the subject. I ten first-class cutters were asked to define the normal male figure, they might well give ten different definitions! But some kind o basic description must be ound—i or no other reason than that o being a guide to young men at the beginning o their careers at the cutting-board.
FIGURE A
FIGURE B
time to be such a type o figure. Its main characteristics are: upright carriage, moderately square shoulders, seat in the usually accepted proportion to the chest, and a general build not showing any excessive development.
Figure B shows the squared-shouldered type. Tere are many varieties o this kind o figure, but the salient eatures do not differ greatly. Te shoulders appear to be higher than those o the standard figure, and they are rather more bulky. Te neck mayor may not be actually shorter, but it has the appearance o being so. Figure C is the reverse. Here is an example o the sloping-shouldered type. Te neck itsel may be more or less standard, but the shoulders have a steeper line rom the neck column. Tey are, in act, longer than those o the previous figure.
FIGURE C
FIG.2 ��
FIGURE D
FIGURE E
YPES OF MALE FIGURE Figure D is an example o the head-orward type. In this figure the head is inclined, to a greater or lesser extent, away rom a straight line towards the ront. Tis orward tendency starts rom a point a little below the base o the neck column and a little above the line o the shoulder slope. Tere is not necessarily a round in the centre back.
Figure E: Here is the stooping figure. It differs rom the one just described in the degree o the orward tendency and the location o its commencement. Te stoop may begin at the shoulder level; rom a point a little below that level; rom about hal-way between shoulder level and waist; or rom the waist. Indeed, there are many types o the same figure. It is mainly distinguished rom the head-orward type by the act that there is a definite curvature in the back. Te amount, or degree, o this curvature should be noted careully at the time o measuring; and it is a good plan to record the various degrees specifically. Slightly round back may be described as S.R.B. ; round back as R.B. ; and a very round back as V.R.B. Figure F: Tis figure has more than one aspect differing rom the normal, or standard. It is tall, with long neck, and the hips are rather small laterally. It is possible or this type to have a relatively large seat, that part being prominent at the back though flat at the sides. A figure o this kind is likely to have long arms.
FIGURE F
FIGURE G
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Figure G: Many figures have one shoulder lower than the other, as the illustration here. In act, there are ew men whose two shoulders are exactly similar; but it is not always easy to detect differences at the time o measuring. In this case, however, the difference between the height and slope o one shoulder and those o the other is quite clearly marked. Figure H shows the well-built, thick-shouldered type. Here, the upper part o the figure seems to be out o proportion to the lower sections. A wider and heavier shoulder is apparent, and some adjustment when cutting is essential. Te chest measure o such a figure may not indicate the bulk in the shoulders; though ofen enough this part may be prominent, it should not be assumed that the heavy-shoulder build aways goes with the prominent chest. Figure I: Tis figure might be described as the semi-corpulent type. Te general build is stocky and the development o the ront waist is such as makes it akin to the true corpulent type. It has not, however, the definitely localised ront increment which is always a characteristic o the latter. Usually, the stocky figure has a airly distributed waist development; and the measurement o the waist will not reveal a great difference when compared with the chest and seat measures. For instance, a stocky figure might have a ��” chest, ��” waist, and a ��” seat.
FIGURE H
FIG.2 �CONT.�
FIGURE I
YPES OF MALE FIGURE
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A Useul Guide Te figures described above, whilst they by no means indicate every possible variation o their types, are such as will provide a practical and useul guide or the younger cutter. As he gains experience and confidence in his work, he will be able to assess different figures when he sees them. I he trains his eye to note the degree o variation in figure builds and in the stances o different people with whom he comes in contact, he will
soon acquire skill and acility in this very important part o his work. It is a very good plan to make a habit o observing the figures o people in the streets, in offices, and in public buildings. By this means the eye becomes a reliable recorder o impressions which the trained mind will soon be able to classiy. Correct measurement and observation o figures, however, are only part o the business o
fitting people with good clothes. As has been said beore, the tailor’s crafsmanship is judged by its effectiveness in dressing customers. Tere is always scope or the artist. A good cutter will not only take careul note o his customers’ figures, he will also observe something o their personalities. And when he is cutting and fitting their clothes he will bear in mind the act that he is dressing a personality as well as a person.
R������ S���� O� M������� A�� P���������� (Including Short Direct Measures) Chest . . . . . . . . . . . . .�� Waist . . . . . . . . . . . . . �� Seat . . . . . . . . . . . . . .�� Scye Depth . . . . . . . . �¾ Natural Waist . . . . . . ��½ Across Back . . . . . . . � Sleeve Length . . . . . . ��½ Front Shoulder. . . . . ��¾ Over Shoulder . . . . . �� Across Chest. . . . . . . �½ Outside Leg . . . . . . . ��½ Inside Leg . . . . . . . . . ��½ ight Knee . . . . . . . . �� ight Small . . . . . . . . ��½ ight Cal . . . . . . . . . ��¾ Neck . . . . . . . . . . . . . ��¼
�� �� �� �⅛ �� �¼ �� �� ��¼ � �� ��½ ��½ �� ��¼ ��
�� �� �� �½ ��¼ �½ ��½ ��½ ��⅞ �½ ��½ ��½ �� ��½ ��¾ ��½
�� �� �� � ��½ �¾ �� �� ��¾ � �� �� ��½ ��¾ ��½ ��
�� �� �� �⅜ ��⅞ � ��½ ��⅜ ��¼ �½ ��½ ��½ �� �� �� ��½
�� �� �� �¾ ��¼ �½ �� ��⅞ ��¾ �¾ �� �� ��½ �� ��½ ��
�� �� �� �� ��⅝ �¾ ��¼ ��¼ ��½ �½ �� ��½ ��¾ ��¼ ��¾ ��½
�� �� �� ��⅜ �� � �� ��⅞ ��¼ �½ ��½ ��½ ��¼ ��¾ ��¼ ��
�� �� �� ��⅝ ��¼ �¼ ��½ ��½ �� �⅞ �� ��½ ��¾ �� ��½ ��½
�� �� �� ��⅞ ��¼ �½ ��½ �� �� ��¼ ��¼ ��¼ �� �� ��½ ��
�� �� �� �� ��½ �½ ��½ ��½ �� ��⅝ ��½ �� ��½ ��¼ �� ��½
C������ VI
AKING HE ORDER By HE EDIOR
HE taking o orders or tailormade clothes is something which goes beyond the recording o measurements and particulars, though these are important enough in themselves. A study o customers’ personalities and the suitability o particular materials to particular people are as necessary to the successul cutter as his knowledge o actual cutting and fitting. It is essential, too, that there is co-operation between ront-shop and cutting-room. Te salesman should be a student as well as the cutter; or he is the first person to see the customer, and he should act as adviser and guide. It is too ofen the case that salesmen sell cloths to customers with no other thought than that o making a sale. Te cloth may not be one which the customer really likes; but he is persuaded to have a suit made rom it by a salesman who is too anxious to get rid o a length which has been in stock or some time. Results are not avourable. Te customer never likes the suit, the cutter has to deal with ads and grumbles, and the firm may lose uture business. Te type o customer will determine, to a large extent, the style o garment. In making suggestions on this topic it will be well to bear in mind that striped materials tend to give height to a figure, whilst checks are inclined to make the wearer look broader. Neither a stout nor a thin figure looks well-dressed in clothes that are cut too closely. Te tendency at the present
FRONT SHOP, MESSRS. COOLING, LAWRENCE & WELLS, MADDOX STREET, W. 1
Tese are difficult people, and the tailor’s efforts to satisy them are always beset with trouble. But i a firm attitude is adopted at the outset, All details o style, pockets, subsequent worries are reduced buttons, and other items should to a minimum. One thing is very be gone into very careully with important—and this applies to all the customer at the time he gives kinds o customer—when an order the order. He may make requests is being placed. All requests should that are not altogether practical, be recorded in the order-book or he may ask or certain things whilst the customer is in the shop. which will present difficulty during It is unwise to trust to memory. making-up. Tereore, both cutter Enough has been said so ar to and salesman should endeavour to make it evident to the reader that the explain to such a customer why he whole business o taking orders rom should not insist on these things, customers is something which should and to suggest other eatures which receive the most careul thought o those concerned in the process. It is can be adopted without difficulty. Tere will always be customers so much a matter o psychology. Te customer entering a tailor’s who reuse to be persuaded; all counter-suggestions rom cutter shop should be made to eel at ease; and salesman are brushed aside. he should be welcomed, without time to an easier style o cut is a great advantage, or it is much simpler to conceal deects in a figure when it is dressed in relatively loose clothes.
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effusion but with courtesy. He should be given time to consider his requirements, and should be given the impression that his order is valued and his satisaction desired by all who are there to serve him. Te cutter, on his part, should endeavour to convey to the customer that he is personally interested in the job o making his clothes. It is the policy—a very good one, too—o some firms to introduce their cutter (or cutters) to the customers by name. And when, later, a customer calls or a fitting he asks or his cutter as Mr. Smith or Mr. Brown, rather than as “your cutter.” Here is an excellent way o emphasising the personal touch that is so vital a actor in gaining and retaining the goodwill o customers. ailoring, surely, is a very personal business.
AKING HE ORDER
RECEPTION AND CUTTING ROOMS�BAILEY & WEATHERHALL.
Te reception o customers may be divided into five main activities, viz: Approach; Discussion o Requirements; Selection o Material; Style o the Garment, or Garments; Measuring.
O these, the first two will concern the principal o the firm, the manager, or the salesman— in certain cases all three will be consulted. Te third-selection o material—may require the additional advice o the cutter. Many customers like to ask their cutter to give an opinion as to the suitability o the cloth they have chosen or suit or overcoat. Tough this may take up some o the cutter’s time, he will be well advised to spend a ew minutes at this stage. As has been already implied, a customer who leaves the shop with the confidence that he has made a good selection o cloth will be more likely to express
satisaction than one who does not eel convinced that he has chosen well. Te practical knowledge o the cutter is o great value in this matter. Tat cutters have such knowledge has been assumed; but it is not always the case that a cutter knows very much about the materials he handles daily. It cannot be too strongly suggested that cutters should make something o a study
o cloths and trimmings. Tey need not strive to become absolute experts in this branch o knowledge, but they should acquire enough o it to equip them with the ability to guide the choice o their prospective clients.
Te ourth and fifh activities are directly the concern o the cutter; they will be dealt with in detail in the ollowing chapter.
C������ VII
GENLEMEN’S GARMENS MEASURES AND MEASURING By HE EDIOR
I
should always be borne in mind that the human figure
is a mobile entity, and that all garments designed to clothe it must have, in addition to their appropriate appearance, characteristics which will ensure comort to their wearers. When measuring, the cutter should not draw his tape too tightly at any o the parts he is measuring—except, perhaps, the knee section when breeches are being dealt with. Measurements or the different garments will be discussed and explained under their separate headings— in most cases illustrated by figures.
It is not possible to take measurements o all ormations; the cutter must train himsel, as has already been pointed out, to assess the many variations ound in the human figure. All deviations rom the normal or standard should be careully noted and duly recorded in the order-book. Certain o these deviations are relatively small and may seem to the cutter o short experience to be o equally small importance. Te reverse, however, is the case; ailure to observe every point o variation may result in imperect garments and a dissatisfied customer. Some cutters keep a separate book in which to enter particulars o the figures and individual requirements o the customers they measure; this is a very good plan. M�������� ��� T�������
It is well, first o all, to ascertain the purpose or which trousers are required, or their style and cut depend largely upon knowing something about this. Whether the customer will be ofen in a sitting position or whether he will be using the trousers or country walking; whether he will use braces or a belt, side-straps or nothing but a close-fitting waist to hold the trousers up. Tese are some o the things that should be known by the cutter beore he brings his shears into play. In measuring it is advisable to have a regular sequence in which to take all dimensions. A certain order is indicated here, and a reason is given or its adoption. Any cutter may arrange his own method in this matter;
the main thing is that he should have some definite plan o working. I the same sequence is used every time, there is less risk o errors resulting rom orgetulness. Te sequence suggested or trousers is: side-seam, legseam, waist, seat, knee, and bottom. Te seat measure must be taken about �” or �” above the level o the ork, or crutch. I a thigh measure is taken (as it would be or certain closefitting styles), the tape should be placed round the thigh airly closely at a position about �½” below the crutch.
A note must be taken o which side the customer dresses. Te term “dress” reers to the underclothing and person. Most men adjust these on the lef side, but some do so on the right. It is very important that the side avoured by individual customers is noted in the order-book; each leg o the trousers is cut in a particular way, and rectifications o errors are not easy to effect in the finished garments. Te difference between the side-seam and leg-seam lengths is known as the body-rise, and the most usual plan or obtaining this is simply the noting o such difference. Some trousers cutters, however, question the accuracy o this method, and believe in taking a direct measure or the rise. One way is to measure rom the top o the fly to the level o the crutch; this is done by placing one arm o the square, or the hand, between the legs and measuring to this level. Another plan is to measure rom the top o the fly to the actual leg-seam. Tere is, urther, the method o placing an end o the inch-tape at the top o the side-seam and bringing the tape over the ront o the trousers to the ork and around the back to the starting-point. One-third o the amount so registered is taken as the body-rise. Individual cutters will select the particular method which they find to be most convenient in practice. Te chie thing to consider is the accuracy o the operation; the next is the correct recording o the measurements in the order-book. Te salesman should always call back each measure as the cutter conveys it to him.
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GENLEMEN’S GARMENS
A word about the knee and bottom measures. In these days, such dimensions belong rather to style than to fit—particularly the knee measure. Most cutters take a measurement or the bottom, usually consulting the customer on his taste in the matter, and base the knee size in some proportion. Teir main concern is the pleasing appearance o the hang o the completed trousers. However, it is well to bear in mind the act that width o bottom influences the general appearance, and is closely related to the length o leg and the height o figure. A wide bottom demands greater length, and vice versa. Another observation: the actual width o the p.t.u. is important. For a short figure with a airly narrow width o bottom the p.t.u. should not be too wide; or a tall figure with wide trousers it can be wider. Widths o p.t.u. vary rom �½” to �¼”, depending on the type o figure and the personal taste o the customer. Figure � In this figure, or the sake o convenience, some o the measures are illustrated on the lef and others on the right side. In practice they should all be taken on the right side.
When taking the length o trousers, both side-seam and leg-seam, measure to the heel o the boot or shoe, and make a deduction in conormity with the size o bottom or to the taste o the customer. Some men like their trousers legs to reach exactly to the shoe; others like to have a slight “break” there ; whilst there are some who like the legs to be very long, orming a considerable old above the arch o the oot. Very ew trousers are made today with bottoms less than ��½” in width. For this size a deduction o �¼” is about right or the p.t.u. and about ¾” or a plain bottom. For wider bottoms, less may be taken off ; and or the very long style already mentioned, no deduction should be made. � to �, ull length o side-seam. � to �, ork to bottom or ull length o leg. �, the waist, taken at the hollowest part. �, the seat, taken at the largest part. �, the width o leg desired at the knee. �, width o bottom desired at the oot.
FIGURE 3.
FIGURE 4.
ronts, whole-alls, or split-alls. What kind o pockets does he preer? Cross, rog—or ordinary side pockets, as in trousers? He may want cloth strappings instead o the more usual (and more effective) buckskin ones— or he may preer the breeches to be without any kind o strapping. Will he require continuations—either o melton or some other material? Shall the side-seam be made plain or stitched down with a “swelling”? Tese are some o the many particulars and details that are asked or in a pair o breeches. Further, or what purpose are the breeches to be worn? Not every customer rides a horse; some like to wear breeches or garden work, some or cycling, and others simply or “walking out.” As the style o cut must be regulated according to the required service o the breeches, it is essential or the cutter to know what that service is to be.
Cutters are divided in opinion regarding the most efficient way o taking the necessary measurements or breeches. Is it better to measure, at both side-seam M�������� ��� B������� and leg-seam, to the knee, small, and cal in a direct Tere is much greater variety in the styles o breeches way; or to measure as or trousers, locating the three than in those o trousers, and it is worth while or the positions by making certain additions and subtractions cutter to take a little trouble to find out exactly what aferwards? Some men o experience in the cutting type o breeches the customer likes. A medium or and fitting o these garments advocate the taking o a close-fitting seat; pear-shaped or “balloon” sides; fly- measure rom ork to small, and then working rom
MEASURES AND MEASURING this in the ollowing manner: From the measured small position, �½” up or the knee and �” to �½” down or the cal. I a young or inexperienced cutter is in doubt or is a little uncertain o himsel, he can try both methods. Experience and practice will contribute to his accuracy; and one method is always a useul check on the other. Figure � Once again, certain measures are represented on this figure as having been taken on the right leg, others on the lef. Lengths o side and leg should be taken on the right side o the customer’s figure. Dimensions o knee, small, and cal should, however, be taken on each leg. It is not ofen ound that the two legs o a figure are exactly the same in girth at these parts. I it is decided to take the measures as or trousers, proceed as ollows: Side-seam rom �½” to �” above �, in the waist line; leg rom �. (Both these dimensions are taken down to the sole o the boot or shoe.) I the direct measures are used, carry the tape rom the top to �, or the knee position, and continue to � and � or small and cal respectively. Tat is or the side-seam; or the leg, measure rom � to the same positions. I continuations are required, the side-seam and leg measures will be carried down to �. �, round the waist, at its hollowest part. � round the seat, at its largest part. �, round the knee; �, the small; �, the cal; �, the lower cal (or continuations). Tese last our measurements are always taken close, with the tape passing over the bare leg. (Tey may be taken over very thin underpants; they should never be taken over thick and bulky ones.) J�������
Tese are very popular at the present day, and are likely to remain so or some time. Similar measurements to those described above are taken. Tere is an additional one at the ankle. Tis is taken with the tape passing round the heel, over the ankle-bone to the ront o the oot. Some jodhpurs are made with plain bottoms, and some—probably most—with p.t.u. M�������� ��� P���-F����
Te most usual way o taking measures or these garments is to proceed as or trousers, with the addition o a measure rom ork to small on the inside leg. A certain amount, decided by the taste o cutter or
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customer, is allowed beyond the small when cutting. Te garter measurement is taken round the small, but the tape is not held so tightly as it is when taking the same dimension or breeches. D������� O� T�� M�������
Beore passing on to discuss the measurements taken or jackets, coats, and waistcoats, it may be o service to the reader i some comment is made upon the division o measures generally when they are applied to drafs. It is customary to select a certain girth measure, and to use this as a basis o division. Tis is the case in trousers and breeches, in which the seat measure is used as the oundation. In coats and waistcoats, however, this particular measure is not so used. Te basis o division or these garments is sometimes the chest measure; sometimes the shoulder measure or measures. Tis division o measurements, and the construction (or draf) which results rom it, constitutes the so-called” system” o garment cutting. In trousers and breeches the system is usually simpler than that or coats and waistcoats (this may be seen by comparing the diagrams o drafs which ollow). Te basic construction adopted or the latter calls or some extra detail o explanation; this will be given beore measures are considered. Tere are, broadly speaking, three types o system in use or coat and waistcoat cutting at the present time. Tey may be classified in the ollowing manner: Te Chest (or Breast) Measure System. Te Shoulder Measure System. Te Direct Measure System. O these, the first is the most widely adopted, and is used in conjunction with careul observation o the figure. Its main characteristic is that the chest measure is taken as the basic dimension; and certain proportions o this are used to fix the various points o the draf. Te chie proportion so used is that which orms the so-called working scale, this will be described in another place. Tere are, o course, certain limitations in this kind o system. Te human orm is o so variable a nature that the chest measure cannot always be taken as an accurate guide or the other dimensions. But many cutters o the highest repute adopt the chest-measure principle in the construction o their patterns; and they do so with great success.
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GENLEMEN’S GARMENS
It is interesting to note that many o the schools o cutting and tailoring have elected to give instruction in the Chest Measure System. Te well-known ailor and Cutter Academy, where at one time only the Direct Measure System was taught, now uses the Chest Measure System in its courses o lessons. Tis wider adoption o the Chest Measure System may have been brought about by the general practice o cutting rom block patterns. Relatively ew cutters to-day cut patterns or individual customers, except in cases o deormity o figure or when customers ask or particular style effects. It is possible to model a set o patterns or a range o chest girths rom ��” to ��”, the various parts being planned in proportion, by use o the Chest Measure System. Te “depth” sections need not necessarily depend upon proportions o the chest girth; this would not be a sound method, or heights are not always in any given ratio to widths. In this connection the heights o figures are taken into consideration, and the resultant scale is a reliable enough base rom which to work in the cutting o patterns. Afer all, judgment and observation cannot be eliminated rom the cutter’s qualifications. He must never be the slave o his measuring tape; he must use it as a helpul tool—indeed, an indispensable one—but not as a talisman which takes away the necessity or using his brains! Another thing which may have influenced cutters in adopting the chest-measure principle is the change in the styles o men’s clothes during recent years. Comparison o the styles seen today with those o twenty-five years ago will reveal a number o striking differences. Tese may not have been noticed in the course o their development, or the basic designs o male garments have remained very much the same. But certain eatures have altered very much. Te standard lounge jacket, or instance, though it has not changed basically, has to-day become something very different rom its earlier sel. It is longer, uller, and bolder in design than it has ever been beore. It may undergo urther changes: style is an ever-changing thing. But it is extremely improbable that it will ever resume its one-time “snugness” o fit. Cutters are o the opinion that the Chest Measure System gives them the most satisactory basis or the construction o their block patterns. On these they can superimpose any desired style effects with a minimum o trouble.
Nearly all the drafs which ollow are arranged on this system. Te proportions given and the method o point location have been decided afer a great deal o experiment and practical testing. It can be said that the system, i used with care and thought, will produce patterns which are correctly balanced and thoroughly up-to-date in style. S������� M������ ��� D����� M������ S������
Te almost exclusive adoption o the Chest Measure System must not be taken as a dogmatic assertion that all other methods o cutting are ineffective. On the contrary, it is well known that there are cutters using Shoulder and Direct Measure Systems today, and that they get good results. Tereore, some ew drafs are included in this work in order to illustrate the application o direct measures; and some details o the shoulder-measure principle will be given in another section. It may be argued, and with good reason, that ability to assess the requirements o various figures is something which can come only afer some years o practical experience; the young cutter will need more help rom his tape than rom his eye in the earlier years o his work. Tat is true enough; but the tape is not always an inallible assistant! Direct measures, however careully taken, will not be sufficient in themselves to produce the ideal pattern. Certain o these measures may, however, be used as checks and as a guide to figure orm. Many experienced cutters use the depth-o-scye measure, the across-chest, and the middle-shoulder in order to help them in keeping a “picture” o the customers they measure. Tey do not base the actual construction o their patterns upon these measures. Opinion and counter-opinion on the subject o measuring have been heard or many years, whenever cutters meet to discuss their craf—and they are likely to be heard as long as the tailoring trade exists. Perhaps it is best to say this: Let cutters select the number and kind o the measures they take as seem most effective in daily practice. And let experienced cutters pass on some o their knowledge to the younger ones ollowing in their steps.
MEASURES AND MEASURING
��
M�������� F�� C���� A�� W��������� Figures �, �, and �
First make sure that the customer is standing in an easy, natural attitude, or it is essential that the measures shall be accurate dimensions o the body parts in repose. Tere must be no tenseness or “bracing up” on the part o the customer; i he assumes such a stance, the cutter will do well to correct him—in a courteous manner. On Fig. � are shown the main measures required or coats, body-coats, and overcoats. Point � is the nape o neck, which alls usually at the place where the sewing-on edge o the under-collar is located. Beore recording measures taken rom this point, it is advisable to consult the customer on the height
FIGURE 6.
o coat collar he likes. He may, at the time o being measured, have on a coat in which the height o collar is at ault. Having established the correct position o �, proceed as ollows: Measure rom � to � or the natural waist length. Tis measure is best taken actually in the hollowest part o the figure; adjustments or style can be made aferwards. In body-coats, or instance, the so-called ashion waist may be placed either in the “natural” position or so much below it, according to the taste o the customer or the cutter.
Continue to � or the length o a lounge jacket or reeer; to � or a morning coat; to � or a dress coat; and to � or the average overcoat. All these lengths will, o course, be subject to prevailing style and to individual preerence.
Next, place the tape at �, which is located on the back seam o the coat opposite the point where the hind-arm seam o the sleeve terminates (the back pitch position). From � measure to �, or the hal width o back. Another way o registering this measure is to place the tape right across the back, rom sleeve pitch to sleeve pitch, and to halve this amount. Here, again, the customer should be consulted as to the amount o back width he likes. He may wish or a airly close fit, or, as is most likely at the present time, an easy, “draped” style o back. Te tape is now continued to �, or the length to elbow, and �, or the length to cuff. In the illustration the figure’s arm is represented as being more raised rom elbow to cuff. Tis has been done in order to give clear indication o the measurements. Actually, the customer’s arm should be held out at the level o points � and �, parallel with the floor. Tere are two other sleeve measures sometimes used by cutters: Te over-arm (or over-sleeve) and the orearm measures. Te ormer o these is adopted chiefly when measuring or the split-sleeve style o overcoat and the Raglan. Details o their taking and application will be ound in the sections dealing with those garments. Te orearm measure may be used or all coats; this, too, will be explained later.
FIGURE 5.
FIGURE 7.
All the measures mentioned so ar have been taken outside the coat. Tose dimensions indicated by ��, �� and �� on Fig. � should always be taken under the coat: Tey are respectively, the chest, waist, and seat circumerences. Te first two are indicated by � and � o Fig. �.
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GENLEMEN’S GARMENS
Te chest measure, a very important one, should be taken in the ollowing manner. Stand a little to the right side o customer and place the tape round the figure so that it passes close under the arms and over the shoulder-blades at the back. Hold the tape airly close to the figure—not tight. Stand in a similar position or the waist measure, which is taken in much the same way (see �� on Fig. �, and � on Fig. �). Te seat measure (��, Fig. �) is taken round the largest part o the figure in that region, with the tape held moderately close. Allowance or ease, or or any particular style effect, can be made when cutting. Tis measure has, o course, been mentioned in connection with trousers; it need not be taken specially or coats when measurements are being recorded or a suit. Te main coat measures have now been dealt with; we come next to the waistcoat measures. Chest and waist measures will serve again here, the additional dimensions required being those o the opening and the ull length. Tese are shown by � and � o Fig. �. Tey are both taken rom the centre back, at the nape position, the starting-point being indicated by the dotted lines. Both opening and length measurements shown here are or the standard no-collar waistcoat. Double-breasted and dress waistcoats will require openings and lengths to suit their particular designs. All measurements essential to the Chest Measure System o cutting have now been described. Teir order should be memorised, and the sequence adhered to in every case. Te ollowing tabulation will help in this matter.
O���� �� M����������� ��� C���� ��� W��������� � Natural waist length . . . . . . . . . . . . . .(� to �, Fig. �). � Full length o coat . . . . . . . . . . . . . . . .(� to �, �. �. �. Fig. �). * � Hal (or across) back . . . . . . . . . . . . . .(� to �. Fig. �). � o elbow . . . . . . . . . . . . . . . . . . . . . . . . (�, Fig. �). � o cuff . . . . . . . . . . . . . . . . . . . . . . . . . . (�, Fig. �). � Chest girth . . . . . . . . . . . . . . . . . . . . . .(��, Fig. �, and �, Fig. �). � Waist girth . . . . . . . . . . . . . . . . . . . . . .(��, Fig. �, and �, Fig. �). � Seat girth . . . . . . . . . . . . . . . . . . . . . . . . (��, Fig. �). � Waistcoat opening . . . . . . . . . . . . . . . .(�, Fig. �). �� Waistcoat length . . . . . . . . . . . . . . . . . .(�, Fig. �). * Sometimes rendered in an abbreviated orm: x-back.
S���� D����� M������� Te ollowing are the most requently used direct measures; they may be incorporated In a system or applied as a supplementary check to the measures detailed above.
Depth o Scye.—Te tape is brought round the back neck and over the shoulder, saddle ashion; its ends are then brought under the arms and across the back. Te ends are kept level with the floor, and a mark (or pin) is placed where they cross at centre back (see A on Fig. �). Te distance between the nape o neck and � is then registered. Some cutters take only one end o the tape over the shoulder, as rom � on Fig. �. Whichever method is adopted, care must be taken to keep the tape parallel with the floor (see ��–��, Fig. �). Over Shoulder.—Starting at � (Fig. �) the tape is passed over the shoulder at �, the most prominent part, and is carried down as rom � to � on Fig. �. Te point � is located at the base o scye. I this measure is taken over a coat, the tape should be kept close to the figure— especially i the garment has thick and bulky padding. It is probably better to measure over the waistcoat. I this is done, an addition o �” must be made when the measurement is applied in cutting. (Te depth-o-scye measure will require an addition o ½” i it is taken over the waistcoat.) Te Front Shoulder.—Tis is taken rom the nape o neck (� on Fig. �), the tape being passed round the neck and down to the base o scye at � (Fig. �). Again, i taken over a waistcoat, the measure must have an addition when applied—in this case, ¾”. Te Across-chest.—Te tape is placed straight across the chest rom scye to scye, a little above the base, as shown at � (Fig. �). Tis measure is better taken over the coat; but note must be made o the fitting and style qualities o the garment worn by the customer when he is being measured.
I��������� �� A������� All the measures in general use, and the methods o taking them, have now been enumerated. Te young cutter who has read the oregoing explanations is advised to practise measuring as ofen as he can, and to study the various types o figure he sees In his dally activities. He will soon acquire the ability to measure efficiently and accurately. It need hardly be stressed that accuracy is o the utmost importance in the taking o measures; without it, the best style o cutting is rendered unsatisactory.
C������ VIII
GENLEMEN’S GARMENS ROUSERS AND BREECHES CUING By HE EDIOR
A
LL basic drafs o garments are arranged on a series o lines known as construction lines. As this term implies, such lines orm the oundation on which the draf is built. Designs and types o particular garments are superimposed on the construction lines, their outlines and contours varying according to type. It does not matter what style eatures are required; they can be set out on the constructional ramework. o the young cutter in particular, the arrangement o construction lines is very important. For him, they orm the starting-point in his work o drafing, and they must be drawn with care and precision. It might be said that these lines are the mathematical structure upon which the artistic effect is built. I the structure is inaccurate, that effect may well be marred. In trousers drafs there are certain vertical and certain horizontal construction lines. O the ormer, one usually orms the starting position. Tis may be located at the side, the centre, or the ork position. In the diagrams which ollow, the side and centre vertical construction lines are used in conjunction, the ormer being the initial one. On this, all the horizontal lines are squared, and on these the various fitting points are located. N���: On all the drafs in this section allowance has been made or ¼” seams. Any deviation rom this arrangement, or special effects, will be noted.
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GENLEMEN’S GARMENS
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PLAIN�TOP TROUSERS
Diagram �
HOUGH the plain-top style o trousers is not quite so popular nowadays as it was some years ago, there are many gentlemen who preer it. Te draf shown here, which may be used as a basis or all trousers construction, depicts both plain tops and plain bottoms. Te latter eature, or general wear, is a matter o choice; but it must always be adopted in certain particular cases. All dress trousers should have plain bottoms, whatever style o top they may have. rousers or wear with a morning coat, too, should be cut in this way; and, strictly speaking, those or wear with the slightly less ormal black lounge jacket should have plain bottoms and not permanent turn-ups. M�������: ��” side-seam; ��” inside leg; ��” waist; ��” seat; ��” knee; ��” bottom.
Te working scale is based on the seat measure, as is always the case in leg-wear. Te seat, in this case, is ��”; hal o this is taken as the scale. Tis computation will be expressed in all drafs contained in this section in the ollowing orm: Scale is ½ Seat—��”. I����������� ��� D������� T������—S������ A
U��������—S������ B
Draw the main construction line, �–�–�. � rom � is the leg length plus ¼”. � rom � is the side-seam length plus ½”. (Te addition o ½” is made to counteract the certain amount o loss which takes place during making-up.) Square out rom �, �, and �, as indicated. � rom � is ⅓ scale. � rom � is �⁄� scale; � rom � is �⁄� scale plus ¼”. Square up rom � to �, on the line squared rom �. � rom � is �⁄� scale; square out to �. � rom � is �”; square out. �� rom � is ¼ waist measure plus ¼”. Mark up rom �� to ��, “springing” out ¼”, as shown. �� rom � is the same as rom � to �. Halve the angle at � and draw a short line to ��. �� rom � is hal the distance between � and � plus ¼”. Shape the fly (or all) line rom �� through �� to �. Square down rom � to ��, located at the bottom. �� rom �� is ¼ bottom measure; �� rom �� is the same. �� rom � (or knee line) is ½ leg less �”. Square out both sides o ��. �� rom �� is ¼ knee measure; �� rom �� is the same. Curve the leg-seam gradually rom � through �� to ��. Te “dress” is taken rom the right topside as shown by the dash lines. �� rom �� is ½”; �� rom � is ¾”. Draw the side-seam rom �� through � to �� (ignoring point �) and ��. �� rom �� is about ½”; this represents the slight hollowing o the topside, a eature in plain-bottom trousers. Such hollowing should not be done in the case o a very wide bottom.
It is assumed that the topside has been cut out rom the paper (i a pattern is being drafed) or the cloth. Tis is laid in the most convenient position o the paper or cloth in readiness or the drafing o the underside. Te dash outline represents the topside. With point �� as a pivot, sweep out rom � to ��. �� rom � is �⁄�� scale plus ½”. �� rom �� is �”. �� rom �� is the same. Draw the leg-seam. ��–��–��, as illustrated. � rom �� is �¼”. From �� (the “dress” point) draw a line through � up to �, thus locating � and �. � is fixed at a position �” above �. “Spring” out ¾” rom � to �. Draw the seat-seam rom �, curving gradually into � and continuing through � down to ��. Te seam is hollowed about ½” behind the line below point � and kept on a gradual curve to ��, as indicated. With �� as a pivot, sweep rom �� and �� to �� and ��. Extend the line squared rom � out to ��. � rom � is �¼”. Tese preparations make the draf ready or the application o waist and seat measures. Measure rom � to �� on the topside (waist line), place this amount at � and continue to ��, as shown by the section o tape on the diagram, making the total amount ½ waist measure plus �”. Make the contour o the “spring” rom �� to �� correspond with that on the topside rom �� to ��. Measure across the topside rom � to �, place this amount at � and continue to ��, as shown by the section o tape, making the total amount ½ seat measure plus �½”. Draw the side-seams rom �� through �� to ��, and then continue in line with the topside, as indicated. Draw a line rom � to ��. � rom � is ¾”; � rom � is �¼”.
ROUSERS AND BREECHES CUING Shape the top, ��–�–�, as shown. � rom �� is about �½”; draw a line rom � to �. At the upper part o this line mark out a ½” dart, as indicated. � rom � is �”, or the terminating point o the dart. Mark down to �� about ½” o “round” below the line ��–�� and complete the draf.
��
(Note: Tough allowance has been made or ¼” seams throughout this draf, in cases o thick, loose-textured materials it may be thought advisable to increase this allowance. Tis can be done by adding a certain amount all round the pattern when cutting; a better plan than making any deviation in the actual working o the system.)
DIAGRAM 2.
GENLEMEN’S GARMENS
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PLEATED�TOP TROUSERS�WITH WAISTBAND
Diagram �
HIS is the style o trousers most generally worn today; it combines smartness o appearance with comort. Te waistband is made anything rom �½” to �¼” wide—�¾” or �” being the width usually adopted. Sometimes the band has an extension across the ront, �½” to �” in length, according to taste. Te pleats are made airly ample—�½” to �” or the ront one and �” to �¾” or the rear. In some cases, one pleat only is eatured—about �” in depth. For large-waisted figures a single-pleat, �½” deep, is the more satisactory. Tis draf is designed with permanent turn-ups, the amount o allowance or these being illustrated. In materials which are likely to ray a lot in wear, it is advisable to make the p.t.u. allowance about �” or �¼” so that ample bottom turning is provided. M�������: ��½” side-seam; ��” inside leg; ��” waist; ��” seat; ��” knee; ��” bottom. Scale is ½ Seat—��”.
I����������� ��� D������� T������—S������ A
Draw the main construction line, �–�–�. In the chapter on Measurements (rousers Section), it was stated that certain amounts are deducted rom the side-seam and inside-leg measures when permanent turn-ups are required. Te bottom width given or this draf is ��”; a deduction o �” rom the lengths mentioned will thereore be made—this is satisactory or an average, finished length o leg. Te draf should be proceeded with on the assumption that such deduction has been effected: thus, the bottom line at � indicates the actual length o the trousers when the turnup has been made. � rom � is the leg length plus ¼”. � rom � is the side-seam length less �¼”. (Tis deduction takes into account the loss in making-up, the waist seam and width o the band; the latter will be �¾” wide when finished.)
Square out rom �, �, and �, as indicated. � rom � is ⅓ scale. � rom � is �⁄� scale; � rom � is �⁄� scale plus ¼”. Square up rom � to �, on the line squared rom �. � rom � is �⁄� scale; � rom � is the same. Square out rom � to �. Halve the angle at � and draw a short line to �. � rom � is hal the distance between � and � plus ¼”. Shape the fly (or all) line rom � through � to �. Square down rom � to locate �� and ��. �� rom � is ½ leg measure less �”. �� is located on the line squared rom �. �� rom �� and �� rom �� are each ¼ bottom measure. �� rom �� and �� rom �� are each ¼ knee measure. (In cases where no specific knee dimension is required, the location o point �� may be lef until the side-seam is drawn through.) �� rom � is ¼ waist measure, net . �� rom �� is the amount required in the two pleats; in this case it is �” – �¾” or the ront pleat and �¼” or the rear one. �� rom � is �”.
Draw the side-seam rom �� through �� and �� to ��; and the legseam rom � through �� to ��, as indicated. Mark back ¾” rom � to �, and take out the “dress” as shown by the dash lines—as described in the plain-top trouser draf. Te pleats are marked by continuing the line rom � to �, making � �¾” rom � and � about �½” rom �; then measuring rom � to � a distance o about hal that o � to �� and dividing the amount o the rear pleat (�¼”) at point �. Mark the turn-up allowance below the line �–��, “springing” out a little, and complete the topside. U��������—S������ A � rom � is �”; draw a line rom � through � to ��. On this line �� is �¾” above the line �–�. �� rom �� is ½”. With point �� as a pivot, sweep out rom � to ��. �� rom � is �⁄�� scale plus ½”. Draw the seat-seam rom �� through � down to �� making the hollow contour below � as indicated. �� rom �� is �¼”. Measure the topside rom � to �� (not to ��, which includes pleat allowances), place this amount at �� and continue to ��, ½ waist measure plus �”. Te construction o the underside top rom �� to �� is that or trousers to be worn with braces. I the trousers are designed or wear with a belt, the top should be drawn as the dash line rom �� to ��. With �� as a pivot, sweep out rom �� towards ��. Measure across the topside rom � to � (not to ��, which includes part o the pleat allowances), place this amount at � and continue to ��, ½ seat measure plus �½”. Draw the side-seam rom �� through �� to a point about �” above ��, and continue to the bottom in line with the topside. �� rom �� and �� rom �� are each �”. Draw the leg-seam rom �� through �� and ��, as indicated. � rom �� is about �½”; draw a line ¼” rom � to � and shape a ½” dart as shown.
ROUSERS AND BREECHES CUING W��������
20 19
T
Draw the line �–�. � rom � is ½ waist measure plus ½”. � rom � is ½”; � rom � is about �½”. Connect �–�–�. � rom � is �¼” (width o band plus two seams). � rom � is �¾” and is “sprung” out ½” beyond the level o �. Connect �–�–�, as indicated. Te dotted-line section beyond �–� illustrates the type o extension sometimes adopted.
23 W
H
6
22
E
C
L
D
2 17
16
M L 8
A
7
A��������� ��� S���� F�����—S������ B
Tere are some figures with rather large waist, though they could not be rightly described as corpulent figures (which will be dealt with later). Te increase in the waist girth is usually ound to be greatest at the ront, thus demanding some adjustment at the all line and top o the trousers. � rom � is 1”; � rom � is ¾”. Draw a line rom � to � (the latter point is in the same position as that on the main draf). Now shape the fly (or all) rom �, as shown.
��
18
9 5
18 N
21 5
W
3
4
F
5
1
1 2
Te top is drawn in a gradual line rom � to the top o side-seam (point �� in the main draf, Section A).
3
P�������� �� E���� E���—S������ C
Tere are cases in which the introduction o extra ease and “movement” in a pair o trousers is a good thing. Tis ease is chiefly associated with the seat and ork sections. rousers that are to be worn or heavy work, or instance, will require more room in the seat and a greater striding capacity in the legs. Extra length can be provided over the seat by giving what is termed increase o seat angle. Te introduction o this may produce a pair o trousers less clean-fitting at the part immediately below the seat o the figure, but certainly more comortable to the wearer. For one thing, strain will be relieved rom the back brace buttons. o reset the seat angle or this purpose, mark in about ½” rom � to � and ¼” rom �� to �. Draw the new seat line rom � through �, continuing to � and �. Te distance rom � to � should show a slight increase on the amount stated or the main draf (Section A) at that part—say, ½”. Te seat measure, afer measuring the topside, will now be applied rom � instead o rom �. Sometimes the ork amount is increased, as rom � to � (Section A)—especially when the trousers are being cut rom cotton and other non-yielding materials: corduroy, or instance.
25 3
14
10
15
2
4
12
11
26
4½
DIAGRAM 3.
13
24
GENLEMEN’S GARMENS
��
S��� T������� D������
Diagram �
HOUGH the cutter is not ofen called upon nowadays to cut the various smaller sections which orm part o trousers, it is well or him to know something about their planning out. Te accompanying diagram illustrates the cutting and fixing o some o the more important sections likely to be required in present-day styles o trousers. S������ � Tis is really arranged in two parts—or clearness o explanation. Te first o these, �, shows the position o the fly tack. � rom � is about �½” or �”, according to the size o figure being dealt with. � rom � (on the right topside in normal trousers) is the same. Both right and lef fly sections are cut together, the lef side being used or the shaping. On part � the width o the fly at the top, between � and �, is �” to �½”. When cutting fly and button-catch, terminate both not less than ½” below point �.
S������ �
Section � shows the most general style. Te tack is located at �, about �½” below the waist hollow. � rom �, the mouth o the pocket, is �” to �½” in length. Te tops are slit down rom � to �; a acing “grows on,” as the dot-dash line rom � to �. Te bearer is cut as the dotdash lines �–�–�–�, filling the vacancy o the turneddown pocket mouth. � rom � is ½” or two seams; � rom � and � rom � are each �”. Section � illustrates a top welt (or part waistband) and bearer cut in one piece. Te tack is about �½” below the waist hollow. � rom � is �” to �½”. Go up ¼” rom � to � and continue across to �, thus allowing or the sewingon o the top welt. � rom � and � rom � are each �”, or the acing. � and � are ½” below � and �. Both � rom � and � rom � are �”. Shape the bearer as indicated by the dot-dash lines. Te tops are cut as shown by the solid lines and a acing is lef or turning in. S������ �
Here are shown two types o pocket asked or in trousers. Te first, �, is a cash pocket, set in the waistband seam and with a flap about �” long; mouth o the pocket is about �½” rom the side-seam. Such a pocket is sometimes made with jetted mouth, with or without hole and button. At � is illustrated a type o ob pocket, situated between the two ront buttons. Te top o the waistband is hollowed and a deep acing is sewn at the back, its top Tis diagram shows the positions o the top buttons curving upwards, as shown. and the side pockets. Te ront button should be, as Cash and ob pockets are usually placed on the right; near as possible, in line with the crease or ront pleat. but some customers preer them on the lef. Careul Te crease is usually a little back rom the centre o the note should be taken at the time o ordering. trousers leg (see at �). Te button should, thereore, be S������ � placed �” back rom point �. Buttons are set rom �½” to �” apart (again according to figure). Te opening or the Hip pockets are generally placed about �½” in rom side pockets begins at a point ¾” below the waistband the side seam and �” to �½” down rom the top edge (or seam (I this style is being made up), as shown by point either plain-topped or banded trousers). Width o such �, and extends �” to �½” down to point �. Te dot-and- a pocket should be rom �” to �”—but special widths, dash outline indicates the shape o the pockets. and depths, may be asked or by the customer. Small flaps are sometimes attached, as the illustration; some S������� � ��� � men preer jettings, with or without a hole and button. Tese sections deal with cross-pockets. Tey are not used so requently in trousers as they are in breeches; but some men, particularly in country districts, preer this type o pocket. Here is an illustration o French bearers (sometimes called American bearers). Tese are usually inserted in trousers or stout men. Te bearer is actually an extension o the button-catch; it has two holes and buttons. Te holes are in the extension, as shown at �–�; the buttons are on the short strap, �–�, which is sewn in the lef side-seam. S������ �
ROUSERS AND BREECHES CUING S������ �
Tis diagram shows the standard type o permanent turn-up. Te line rom � to � marks the actual finished length o the trousers leg; � rom � and � rom � illustrate the width o the turn-up—anything rom �½” to �¼”, according to size. Te dot-dash line rom � to � shows the position o the top o turn-up when finished. Square down rom � and � in order to locate � and �, which are the same distance rom � and � as those parts are rom � and �. When the edge o the turn-up, �–�, alls on the line �–�, it will have to be slightly longer in order to go round the wider part o the trousers leg at that position. Tereore, it is necessary to add slight “spring” at � and �, as indicated. Add ¾” to �” below �–�, or turning up. Te procedure or both topsides and undersides is illustrated. S������ � Tis section shows the so-called seat piece sometimes required. Te dot-dash lines illustrate the cutting o such an addition. � and � are two seams below the main bodypart rom � to top o side-seam. Te side o the seat piece at �–� is brought in rom the side-seam the amount taken out at the dart, � (including seams). Hollow the seat piece rom � to �, as indicated, in order to give a certain amount o “spring” to the tops. (Tis applies to the plain style o top; no such “spring” is necessary in the case o banded trousers, when the addition o a seat piece is made to fill up a shortness between the tops and the band.)
DIAGRAM 4.
��
GENLEMEN’S GARMENS
��
RIDING BREECHES
Diagram �
HE most important thing in riding breeches is comort. Ease o movement or mounting the saddle and or riding astride is essential. Te draf shown here is constructed on lines which will produce the requisite scope or action, whilst they will give a stylish appearance to the breeches.
Personal taste may dictate the position o the knee-astening. In the draf an almost central ront location is shown. Other types and positions o opening will be described and illustrated later.
Te measures quoted are those taken or trousers, the different additions and deductions being calculated in the draf. As was stated in the chapter on measurements, some cutters preer to measure direct on side-seam and leg-seam or the location o the knee, small, and cal positions. Such measures can be taken with some degree o accuracy by an experienced cutter; the younger man is advised to adopt the method described here. MEASURES: ��” side-seam; ��” inside leg; ��” waist; ��” seat; ��” knee; ��½” small; ��” cal.
Scale is ½ Seat—��”. I����������� ��� D������� T������ � is the starting-point. � rom � is ⅓ scale. � rom � is �⁄� scale. � rom � is �⁄� scale plus ¾”. Square up rom � to � or the rise—difference between side-seam and leg measures. � rom � is �”; � rom � is ½”. Connect �–�, as shown. Halve the ork at � and strike a diagonal line to �, making � rom � about �¼”. � rom � is ¼ waist; spring out about ¼” to �. Drop the ronts ¾” below � and connect the lowered point to �. �� rom � is ¾”; square down to ��, ��, ��, and ��. �� rom �� is �½”, or striding ease. �� rom �� is ½ leg less �” (or length taken to knee). �� rom �� is �½” (or length taken to small). �� rom �� is �” (or length taken to cal ). Square both ways rom these points. �� rom �� is ¼ knee measure; square down to locate �� and ��. �� rom ��, �� rom ��, and �� rom �� are ½ knee, small, and cal measures, respectively. Draw leg-seam—in a straight line—rom � to ��, then continue to �� and ��. ake out a small cut (about ½”) just below ��, this will have the twoold effect o shortening the leg-seam and providing ullness at the knee. �� rom � is
�¼”. (Tis amount may be varied according to the style desired.) Draw a line rom �� to �� and mark �� midway between those points.
�� rom �� is �”. (Tis amount may be varied according to taste.) Shape the side-seam rom �, through �� and ��, to ��. Continue to �� and ��. (Notice the slight hollow between � and ��, and the running in just above ��.) Shape rom ¼” below �� to ��. Mark the position o knee tack about ½” below ��, as indicated. U��������
With �� as pivot, sweep rom � to ��. �� rom � is �⁄�� scale plus ¼”. �� rom � is ⅓ scale; �� rom �� is �”. Draw the seat line rom � through �� to ��, the latter point being �⁄� scale plus �¼” above � on the line �–�. Spring out ¾” at �� and run the top o seat-seam to a little below �, as shown. Shape the remainder o the seat-seam rom just below �, through �� to ��, hollowing very slightly between �� and the part opposite �. Connect ��–�� by a straight line, thus completing the leg-seam. �� on the seat-seam is �” below ��. Draw lines rom � and � to �� and ��, slanting upwards �”. Measure the topside rom � to �, place this amount at �� and continue to ��, ½ waist measure plus �”. ake out ⅜” dart at waist, as indicated. �� rom �� is �¼”; � rom �� is �”. Draw a guide line rom �� to �. Measure rom �� to ��, place this amount on �� and mark out on the extended line to ��, the knee measure plus �”. Measure �� to ��, place this amount at �� and mark out on the extended line to ��; the small measure plus ¾”. Measure rom �� to ��, place this amount at �� and mark out to ��; the cal measure plus �”.
ROUSERS AND BREECHES CUING Continue the guide line rom �� to � down to ��. Shape the side-seam rom ��, through ��, ��, and �� to ��, as indicated. Shape the knee cut rom �� to a point ½” above �� down to a point ¼” below ��; also rom �� to a point ⅞” below �� to �, which is ½” below ��. Connect �� and �� by a rounded line (about ½”) as indicated. Place balance marks at � and � on the topside and at � and � on the underside. Te distance between � and � should be ¾” to �” greater than that between � and �, the topside being ulled-in this amount, as indicated by the wavy line. Te underside is ulled-in between �� and ��, as indicated by the wavy line. Shape the top as shown, rounding about ½” between the waist dart and the top o seatseam at ��.
N���� O� T�� D����
Te measurements o knee, small, and cal may not always be such as will make the arrangement o the lower section o riding breeches so straightorward as it is in this draf. For instance, the seams ��–�� and �–�� must agree in length; this sometimes necessitates displacement o point �� to a more outward position— nearer or beyond ��. Te cutter will use his discretion when he is measuring up the parts. Attention is drawn to the slight drop in the topsides below point ��; this is a good eature. Again, care must be taken to ensure that the distance rom �� to �� on the undersides compares with that rom the knee tack to �� on the topsides. Breeches intended or walking and cycling and not or riding may be cut on very much the same lines. Tey will not require the same amount o stride room, and will thereore be cut slightly closer in the legs. Tis is effected by squaring down rom point �(see topside on Diagram �) instead o rom ��. In all breeches it is a matter o taste whether the knee opening is astened by means o buttons or laces. For riding, however, the latter are the more comortable. When cutting rom the cloth, one seam should be allowed along the contour �–��—the knee-cut seam. Te underside will be shorter than the topside at the leg-seam and side-seam positions here; extra length on the topside is eased in. Te small cut below �� on the topside is usually stoated.
DIAGRAM 5.
��
GENLEMEN’S GARMENS
��
TOP AND KNEE FINISHES
Diagram �
HIS diagram has been devoted to illustrations o any difficulty when it becomes necessary to inuse any various top and knee finishes which are requently o these style details into the ull draf, already given in asked or in breeches breeches trades. With the diagrams and and the last section. details given below the student should not experience I����������� ��� D������� S���� F����. F����. S������ A
C������������. S������ E
Tis little sketch depicts the upper section o a pair o breeches finished with Split Falls. I reerred to when the various parts have been cut out, it will help those unacquainted with the style in the checking up o the parts and show how they are assembled. In the sketch the “all” is shown detached rom the buttons and laid over, exposing the inside finish.
Tis orms an extension o the breeches down below the cal, to a distance which is generally arranged to accord with the wishes o the customer. customer. Te upper section at knee, small, and cal is constructed as described in the ull u ll draf given previously. previously. � rom � is the extra length. � rom � = ¼ the bottom measure. N���: Te length o the continuation must be taken into account when measuring. � is squared down rom �. Apply the ull bottom measure plus �” rom � to � and rom � out towards �. Any surplus is taken out in a dart, as shown at at � (dash lines). In order to prevent pressure o the buttons on the shin bone, the topsides axe carried over to the side as shown at �. Te continuations may be lef on with the upper part, or they may be cut away on line �� and made up in melton or silesia.
S������ B
Tis illustrates the preliminary trimming o the tops and the construction construc tion o the slit-bearer. Te dash lines � and � represent the waist line. Te top o the “all” runs ½” above this line and extends �¼” rom � to �. Te topside is slit down to a depth o �” rom � to � or the “all.” Point � is situated �¼” rom the fly or ront line. Te remaining section o the topside is cut away ¼” above the waist line as rom � to �. � rom � is �” or the depth o the pocket. � rom � = �” or the pocket mouth. Te ront bearer is shown by dot and dash lines extending rom � out to ��. �� rom � = �”; �� rom �� = �½”; Curve the bearer rom �� down to � as shown. S������ C
Tis illustrates the cutting o the top and pocket bearer. Dot and dash lines show the outline o trimmed topside. Tis bearer, bearer, which is carried up to complete the height o the tops at � and �, is extended ½” beyond the ront line. A seam is allowed below the waist line rom � to � and the pocket extension made below � and � as shown by solid line. A welt cut to finish ¾” to �” wide is constructed to be sewn down the side o the all. S������ D
Tis depicts an alternative method o constructing Split Falls. Here the ordinary cross pocket is given, the acing and bearer being cut in accordance with the details laid down in the trousers section. Te ront part o the topside is trimmed so that the “all,” � to �, lies ½” above the waist line. Te bearer is then cut to come right to the top as shown by dot and dash lines at �, �, and �.
F�������� A� S��� S��� O� K���. S������ F
Tis diagram shows the altered outline o the breeches when the astening has been arranged at the side o the knee. � rom � = ¼ knee width; � and � are squared down rom �; � rom � = ½ knee; � rom � = ½ small; � rom � = ½ cal; �, �, and �� are placed �” out rom the centre line at �; Apply knee measure plus �” rom � to � and rom � to ��; Apply small plus �” rom � to � and � to ��; Apply cal plus �” rom �� to � and � to ��. Te overlap or the cut is ound as beore. With the seam coming down the side o the leg, it is necessary to inuse a little ullness on either side o topside knee to provide provide or the knee-bone. Tis is accomplished by extending the topside ½” below � and ��, and the placing o balance marks �” apart on the underside and �½” on the topside, as shown by arrows.
ROUSERS AND BREECHES CUING
DIAGRAM 6.
��
GENLEMEN’S GARMENS
��
JODHPURS
Diagram �
HESE garments have become very popular in recent recent years among among riding olk. When well cut and made, they are attractive in appearance; at the same time they possess the ease and comort needed by the wearer when in the saddle. Te method o construction or jodhpurs is, in the main, exactly the same as that already described describ ed or breeches. Te additional eatures are detailed detaile d below. below. M�������: M�������: Same as or the breech breeches es draf. draf. Additional Additional measure measure or bottom: bottom: ��”.
I����������� F�� D������� S������ A
N��� O� B������� A�� J�������
Tis shows the topside, the upper part o which is constructed in It may have been noticed that no reerence is made the same way as breeches. Extend rom the cal line, ��–��–��, the necessary amount or the to “dress” in the drafing instructions or breeches and additional leg length. Tis length may be applied at side-seam jodhpurs. Tis is a matter that has received quite a lot and leg-seam in the usual way, making both side and leg the o thought rom cutters, and one that has ofen been measures taken on the figure less �” rom the seam o shoe—or discussed at at trade society meetings. meetings. Opinion is still less �” rom the sole o oot. very much divided on the subject. Some experienced Square down rom �� to � and rom �� to �. breeches-cutters do not take out any “dress,” saying that � rom � is ½”. breeches cut with whole or split alls are usually cut Curve the inside leg rom �� down to �, and draw the side-seam without “dress” and yet they appear to be quite clean rom �� to � in a straight line. in the ork region. region. Other cutters o these garments garments are are A slight change o contour has been made mad e at the “flare,” the distance rom �� to �� being a little less than in the breeches draf. In the o the opinion that a small amount o “dress” should jodhpurs. case o jodhpurs, it is not advisable to have too much pouch here. always be taken out o both breeches and jodhpurs. S������ B
Here the topside is shown laid on the underside, the leg-seams coinciding rom �� to �. Measure up the knee in the same way as or breeches. Square down rom �� to �. Measure up the small, cal, and bottom, making the allowance or seams. Te measure taken at the oot (described in the earlier chapter dealing with these measurements) may not always, when applied, produce the even contour shown here at the side. I it is large, it may be reduced by taking out a long dart which terminates just below the cal; or it may be reduced at �—a little being taken off both topside and underside at that point. I, on the other hand, the measure is small, a similar adjustment may be made at �. It is always best to preserve as straight a run as possible at the side-seam rom �� to �. Put in the balance marks, as shown; take out a small dart, as indicated at � (topside), and complete the draf. N���: Some jodhpurs are made with p.t.u: When this style is required, a certain reduction o the leg length will be necessary. It may be ¾”, ¾”, �”. �”. or �½”—according to the customer’s taste. He should always be consulted on this matter.
Te best advice that can be given, especially to younger younger readers o this work, is this: ry both methods—“dress” and no “dress.” Afer trial, adopt the one which gives the best results in the particular type o trade with which you are concerned. I you do decide to take out “dress,” make the amount slightly less than that suggested or trousers.
ROUSERS AND BREECHES CUING
DIAGRAM 7.
��
GENLEMEN’S GARMENS
��
PLUS FOURS Diagram �
HOUGH plus ours are not so popular as they were a ew years ago, they are still worn on certain occasions, and a work o this kind would not be complete without a draf o such garments.
Te bottoms are usually reduced to the size o the small band by taking out two or three cuts, as illustrated here. Some cutters, on the other hand, preer to cut the actual bottom nearer to the band dimensions and to ease-in the resultant excess. Tis is difficult i the bottoms are very wide; the cuts are really the best means o dealing with the reduction. Te band, or garter as it is sometimes called, is usually cut straight, with a tapering end. Te amount o “all-over” must be made in accordance with the customer’s desires. In the present draf a moderate amount is shown. M������� (as or trousers): ��½” side; ��½” leg ; ��” waist ; ��” seat ; ��½” small, or garter.
Scale is ½ Seat—��”. I����������� F�� D������� T������ � is the starting-point. � rom � is ⅓ scale. � rom � is �⁄� scale. � rom � is �⁄� scale plus ¼”. Square up rom � and make � rom � the amount o the rise (��” in this case) less the width o the waistband, which is usually �¾”. Square out rom �; � rom � is ¼ waist measure plus allowance or two pleats. (Te ront pleat may be �¾” deep and the side one �¼”.) � rom � is ⅓ scale. Halve the ork angle at � and make � about hal the distance rom � to � plus ¼”. Shape the ront rom � and � through � to �. Square down rom � to locate � and �. � rom � is ½ leg measure; � rom � may be made �” to ��”, according to style desired. (I the actual amount o “all-over” has been added to the leg length when measuring, it will be applied rom � to ��; the distance rom � to �� will then be made the same as rom � to ��.) Square out rom � to �� and ��; both these distances are made ¼ small, or garter, plus �”. Drop ½” rom �� to �� and join the latter point to ��, adding about ⅜” round, as at ��. �� rom � is ¾” and marks the position o the “dress”; this is illustrated by the dash lines. Square down rom �� to �� and shape the leg-seam to ��, running its upper part into point �. Square down rom � to ��; �� rom �� is �”. �� rom � is �”. Shape the side-seam rom � through �� and �� to ��, as indicated.
U�������� With �� as a pivot, sweep out rom � to ��. �� rom � is �⁄�� scale plus ½”. �� rom � is �⁄� scale; �� rom � is ½”. Connect ��–��, place the square at �� and draw the seat line to �� and ��. Te latter point is �⁄� scale above ��. “Spring” out ½” at �� and shape the seat-seam through �� and �� down to ��, keeping the same contour as that o the topside at this part.
Measure the topside rom � to � (not including the pleat allowance), place this amount at �� and continue to ��—½ waist plus �”. ake out ½” dart as shown. �� rom �� is ¾” to �”; �� rom �� is ½”, and is dropped a little below the top-side. Shape the leg-seam rom �x through �� to ��. �� rom �� is ¾” to �”; �� rom �� is ½”, and is dropped a little below the top-side. Shape the side-seam rom �� through �� to ��. Te underside is hollowed from �� to ��, passing through point �, as shown.
ake out three small cut at both top-side and underside, and complete the draf. T�� W��������. S������ A Draw the line �–�. � rom � is hal waist plus two seams. � rom � is ½”; run gradually into �, which is �½” rom �. � rom � is �¼” (width o band plus two seams). � is sprung out ½” rom the line �–� and is �¾” rom �. At the ront o the band an extension o �½” is shown by the dash lines; this is sometimes adopted. Te extension may be made longer, as desired.
T�� G�����. S������ B
Draw the line �–�. � rom � is the small measure plus ½”. � rom � is �½” (a
wider or narrowed garter may be made, as desired). Continue the same width to the line at � and taper off, as indicated.
N���: For the large-waisted figure the construction o the tops will ollow that described or the pleated trousers.
ROUSERS AND BREECHES CUING
DIAGRAM 8.
��
C������ IX
GENLEMEN’S GARMENS WAISCOA �OR VES� CUING By HE EDIOR
T�� B���� O� C�����������
Diagram �
HE unction o construction lines in the cutting o garment patterns has been stated in the chapter on trousers. Tough the present chapter deals primarily with the cutting o waistcoats, there is sufficient basic similarity between those garments, jackets, and coats or their construction lines to be discussed together. On this composite diagram are shown the main construction and style guide lines used in the drafing o all the garments dealt with in this and the next ollowing chapters. Explanation Te dash lines rom �� to a point out rom and above is, and rom �� to the point below ��, show the average shoulder slopes o back and orepart. (Fuller explanation o this will be given in the drafing instructions which ollow.) Mention must now be made o ��, ��, and �.
� is the starting-point, with the back construction line running straight down rom it and the first horizontal line squared rom it. All other horizontals are also squared rom the back line, with the exception o the line ��, which has a special reerence to waistcoats, to be described later. � is the basis or the shoulder slope. � is the across-back position and the basis or back sleeve pitch. � is the depth o scye position and the location o chest line. � is the natural waist; � the ashion waist (or body-coats) ; and � is the average length o the waistcoat back. � is the hip (or seat) line. � is the line marking the ull length o the average lounge jacket or reeer. (Lengths or body-coats and overcoats will be established below line �, a similar line being struck across at the correct position.) Te main horizontal lines have now been enumerated. Te other lines will next be described and the location o the different points detailed. � is the basic point or the back neck; �� (¾” above �) is the back neck point. �� marks the width position o the across-back. �� marks the ront o scye. �� is the squaring position or establishing the ront neck point. �� locates the ront centre line, which is shown squared down rom the chest line ( �–��). �� is the basic point or regulation o the shoulder-seam length and the height o shoulder point. From �� a line is struck to the ront neck point, to be used as a guide or the slope o ront shoulder. On this line, �� marks the position rom which the actual slope o the seam is made. �� marks the correct distance rom the ront neck point, the orepart shoulder point o coats and waistcoats being dropped slightly, as indicated.
Te line ��–�� is located at the position o the average waistcoat length. Te points o the orepart would all on this line, in the case o a standard single-breasted, no-collar waistcoat. Te lengths o d.b. and dress waistcoats would be higher, according to the style designed.
�� marks the position o the ront part o the bottom edge o lounges and reeers; � marks the end o the orepart side-seam in these garments. All the locations so ar described will be used in the various drafs which ollow in the sections devoted to waistcoats, coats, body-coats, and overcoats.
A���������� O� S������������ M������� Te dot-and-dash lines which appear at different parts o the diagram show the directions o the tape when applying the direct measures reerred to in the chapter on measuring. Te line �–�, rom � to �, is the depth o scye. �–�, running rom � over the back shoulder and continuing down the orepart to ��, is the over-shoulder measure. �–� is the ront shoulder measure, the amount o the back neck being shown in the extension above the ront neck point. �–� is the across-chest measure, rom the ront o scye at �� to the centre line at ��.
One more point remains to be explained—the unnumbered one above ��. Tis is the location basis or the run o the ront scye, in both waistcoats and coats. Its use will be shown clearly in the drafs. N���: In all the drafs shown throughout this section allowance is made or ¼” seams, except where otherwise stated. Additional seams (that is, nonstandard ones) will be specially noted.
��
WAISCOA �OR VES� CU ING
DIAGRAM 9.
��
GENLEMEN’S GARMENS
��
STANDARD SINGLE�BREASTED, NO�COLLAR WAISTCOAT Diagram �� HIS is the most generally worn style at the present time. It usually has our pockets, a moderate length o opening, and six buttons. Many gentlemen leave the bottom button unastened; when this style is required, it is better to mark the run o point gradually rom the fifh button position to the bottom o the garment. Te draf is based on the chest-measure principle already described. No special provision is made or figure irregularity; all such deviations should be marked when cutting rom the material.
wo scales are used in the working o the system or coats and vests—they will be reerred to as Chest Scale and Working Scale. Te advantages o this arrangement will be seen as the drafs are explained: noticeably in the larger sizes. In sizes below ��”, only the Chest Scale need be used. M�������: �� ½” natural waist; ��” opening; ��” length (ront); ��” chest; ��” waist.
Chest Scale is ½ Chest—��” . Working Scale is ⅓ Chest plus �”—��”. I����������� ��� D������� Square rom �. � rom � is ½ working scale. � rom � is the natural waist length. � rom � is ½”. Draw the centre back seam rom � through � to �. � rom � is about �” and is “sprung” out a little, as shown. � rom � is �⁄� working scale plus ½”; � rom � is �”. Curve the back neck rom � to �. � rom � is one-ourth o the distance rom � to �. � rom � is ⅓ o chest scale. � rom � is �¾”; square up to ��. (Any particular width o back can be applied by measurement.) �� rom �� is ¾”; draw the back shoulder-seam rom �� to �, hollowing a little, as indicated. A useul guide or this is provided by striking a line rom �� to a point hal-way between � and �. �� rom � is ¼ chest scale; �� rom �� is �½”. �� rom �� is �⁄� working scale plus ½”. �� rom � is the ull chest scale (or ½ chest measure) plus �½”. Square up rom �� to ��—¼” less than rom � to �. Connect �� to ��. �� rom �� is ¼” less than rom � to �� on the back. �� is ½” below ��; shape ront shoulder-seam, as shown. �� rom �� is �⁄�� working scale; �� rom �� is ¾”. � rom �� is �½”; shape the back scye rom �� down to a position ½” below the chest line, as indicated, hollowing about ¾” at �. Connect �� and ��, using this as a guide line or shaping the ront scye; this has ⅓” hollow at ��, passes through �� and ��, and is dropped ½” below ��, thus meeting the back. Square down rom �� to ��. � rom � is hal the distance rom � to �, less �”. Square down rom � to the waist line, thus locating the dart. Tis is ofen taken out in waistcoats, displacing the back-straps indicated by the dash lines at the back waist. I a dart is adopted, ¾” is taken out at the suppression points marked on the waist line.
� rom � is the same amount as taken out at the dart. �� rom � is ½ waist measure plus �½”. Te distance rom �� to �� is the amount to be taken out at the side-seams, at �; this point is squared down rom ��, which is ½” to the side o ��. �� rom � is ¼”; shape the back side-seam rom �� through �� to ��. Te last point is “sprung” out just over the line rom � and is about �¾” below ��. Shape the bottom edge o back rom �� to �, breaking at the dart (i one is taken out) as indicated. �� rom �� is the same as �� to ��; shape the orepart side-seam rom �� through �� to ��, which is ⅜” above �� and is “sprung” out a little, as shown. (Te dart is seamed in the marks.) �� rom �� is �⁄� working scale; draw a curved line rom �� to ��. Tis line marks the centre ront and is an important guide when cutting waistcoats which button high at the neck. Deduct the back neck amount ( � to �) rom the opening measure and apply rom �� to ��, adding ½”. Again deducting the back neck amount, apply the length measure rom �� to �� (squared down rom ��), adding ¾” to �”. �� rom �� is decided according to the style required. In this case it is ¾” on a slanting line; the run rom opposite �� is designed or a waistcoat which will be worn with the bottom button unastened. I this were not desired, the ront edge would be level with the centre line ( ��–��–��) to a point about �” below ��. Continue the run o orepart shoulder ¾” beyond �� to �; shape the opening rom � to �� and continue or the ront edge ¾” beyond the centre line, running into the bottom point �� as already described. Connect �� to �� by a graceully curved line, as indicated. Te dash lines at the ront edge show a ⅝” button-stand or the right ore-part. Te dash-lined section extending above � and �� illustrates the cloth neck-pieces that are usually attached to waistcoats.
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N���� O� T�� D����
Tey should be cut straight, as indicated, not curved to the back neck contour . Te dash lines above the back neck show the amount which should be added here when the back is being actually cut out. Te ront o the pockets would be, in a waistcoat o this size, about �¼” rom the ront edge. Te lower pockets are about �” rom the bottom edge and are �” in length; the upper pockets are about �½” above the lower and are �¼” in length. (Tese amounts will, o course, vary with larger sizes.) S������ A
It is a good plan to insert balance marks at the sideseams, as shown by the arrows (about �” below point ��), as a guide to the tailor. Te edge o the opening rom � to the top o buttonstand has a seam allowed or the sewing on o the acings at that part. In some cases these are lef “growing on”; i this is so, the tailor should be instructed to put marking Tis diagram illustrates the manipulation o the pattern or the correct stitches ¼” inside the chalk marks. Errors requently insertion o a ront dart (position indicated on the main draf). occur in this matter. Cut up rom � to �, which is located on the chest line, and mark up Many o the leading tailoring firms have their to �, which is placed at about point �� on the main draf. Cut or waistcoats cut with airly narrow shoulders. An pleat the pattern at � so that this point moves to �. Tis movement will open the bottom edge, as rom � to �. Shape alternative width is indicated by the dash line rom � on the dart to � and close in at �–�, as indicated. Te suppression the orepart and � on the back. at �–� should be about ½”.
A slight stretching o the orepart shoulder, rom �� towards ��, should be given when the waistcoat is being made up; this is illustrated on the shaded portion o Section A.
Slits are ofen made at the bottom o the sideseams; these are illustrated by small arrowheads on the diagram—about �½” up rom the bottom edge.
DIAGRAM 10.
GENLEMEN’S GARMENS
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DOUBLE�BREASTED WAISTCOAT, WITH LAID�ON COLLAR
Diagram II
HE basis o construction is exactly the same as or the S.B. style; points o difference in the D.B. will be detailed below. Te same chest and waist measures may be used; but the opening and length dimensions will be different. Te ormer is not usually measured at the time the customer orders, unless he has some definite ideas on the matter. In a general way the depth o opening is judged by the cutter. Te length to bottom edge, however, is measured in the way already described. Length or a vest o this size would be about ��”, which locates the ront part o the bottom edge �” to �½” below the waistband seam o the trousers.
M�������: ��” chest; ��” waist; �� ½” to waist; ��” length.
Scales as in the previous draf. I����������� ��� D������� Proceed as or the single-breasted waistcoat, as ar as the location o the ront centre line. Te D.B. ront is arranged as ollows: �� is �¼” above �� on the centre line. �� is fixed by application o the length measure, with
an addition o ¾”.
�� rom �� is �¼”. �� rom �� is �½” and is raised about ½” above the level o ��. (Tese dimensions may be varied according to taste; the amounts given represent a good average or this style o waistcoat—in normal sizes.)
Connect � to �� or the opening. Te dash line between these two points shows an alternative contour, with a slightly hollowed effect. Connect ��. ��, and �� or the bottom edge o orepart. Mark the design o the collar, as indicated. It is about �” wide at the point o the lapel section; point � is marked at �” below �. Te button positions are marked afer allowing or the seam off at the ront edge and the distance o the buttonholes rom the finished edge. In this case the buttons are placed at the ollowing distances rom the centre line: op, �¼”; middle, �”; bottom, �¾”. Te slope o buttons is, o course, in line with the ront edge; it will be varied according to any change o contour that may be made in the ront edge rom �� to ��. Some change in the position o the pockets may be necessary, or it will be realised that a wider ront overlap would mean a wider lateral spacing o the buttons—and the ront edge must not all on the ront o the pockets when the vest is buttoned over. When a very wide ront is asked or, it may be better to pass the lower pockets back so that the rear tack comes in the side-seam. N���� �� ��� C�����
Tis is usually cut by the tailor, on instructions rom the cutter regarding the shape and style required. I the cutter preers to cut the collar himsel, he could trace the shape through rom the draf and cut out the design on a separate piece o paper. Allowance will be made or the seams at the outer edge and or the part which will turn in down the opening edge. Te latter will have to be wide enough to orm a acing at this part. Te collar is cut in two sections, and is usually lined with a thin material, such as artificial silk; this is sewn down to the opening edge when the collar is attached.
Sometimes collars are cut in one section, thus eliminating the seam at �. Tis is never a very satisactory way o working, or there is always the tendency or a pucker to appear at the position o �. Te collar may extend across the back neck, or a neck piece may be joined on at ��–�, as described in the previous draf. S������ B
Here is a orm o pattern manipulation slightly different rom that described in Section A o the S.B. draf. Te pattern is cut rom the bottom edge at � to the neck point at �. At the same time a pleat o about ¼” is taken out at �–� (in the same way as that applied in the previous Section A). Tis combination adjustment is arranged so that an opening o the pattern is effected between � and �—about �¼” in extent. Tis will allow or the insertion o two pleats, as shown. Te ront one o these is ¾” and the rear one is ½”. Te pocket mouth will be cut through, the cut extending out rom � to �, as shown by the dash line. (Te amount o this extension will be fixed according to the size o the pleats, and two seams must be allowed rom the rear pocket tack to �.) Te surplus material below the pocket is sewn out in a seam, allowed or as rom � to � and � to �. N���: Some cutters preer to cut the oreparts o this kind o waistcoat in two sections. Te centre line, ��–��–��–�� (see on the main draf), is cut through, thus separating the ront part rom the main orepart. When this is done, a seam must be allowed on the sewing edge o each section . Tere is the possibility o taking a little out at the top and bottom o these sections, when so cut. I the seam is opened slightly at is, the effect will be to shorten the edge o the opening rom � to ��. A similar arrangement at �� will have the effect o shortening the bottom edge at that part— ofen an advantage. I it is decided to cut the orepart in one piece, the effects mentioned above can be produced by careul drawing-in. A small vee taken out o the opening contour, �–��, is quite a good eature in the case o a figure with prominent chest.
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DIAGRAM 11.
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GENLEMEN’S GARMENS
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EVENING DRESS WAISTCOATS
Diagram ��
HERE is great variety in the styles o dress waistcoats at the present time. Some o the designs seen in wear are very extreme in character, eccentric shapes o ronts and collar being eatured. Te present examples have been selected with the view o indicating the style lines adopted by good-class houses; extremes have been avoided. Again, the same basis o construction is used; variations or the ronts being detailed below. Te same measures or chest and waist may be used; the scales are also applied as beore. Te depth o opening and the length o dress waistcoats have always to be considered in relation to the figure—and, when the waistcoat is a white one, or wear with a dress coat, in relation to the ronts o that coat. Further, the rise o the trousers has to be taken into account. Tese matters will be discussed more ully at a later stage.
M�������: ��½” natural waist; ��” length o ront; ��” chest; ��” waist. (Te ront length measure applies to the main diagram). Chest Scale is ½ Chest. Working Scale is ⅓ Chest plus �”.
I����������� ��� D������� Proceed with the main draf as or the ordinary S.B. waistcoat, making the ollowing deviations or the dress style: On the ront centre line, �� is �½” rom ��. Sweep back rom �� to ��, applying the length measure in the manner already described, about ¾” behind the centre line. Te length o the opening is decided according to the style o ront required. In this case, the length o the edge rom � to the bottom o the opening is ��½”. Te ront edge is marked ¾” beyond the centre line at �� and, or the lef orepart, is run airly sharply down to ��. On the right orepart a ⅝ button-stand is added, as shown by the shaded portion. Tis ront is designed to take three buttons airly close together. Length o the buttoning section rom the base o collar to the commencement o the point ( � to �) is about �¾”. Width o the collar at top is �” and at base is �½”. A jetted style o pocket is shown, though sometimes a welt is preerred. Te ront dart can be taken out in the manner already described, its location being indicated by the dot-dash line. Te position or pleating or slitting the pattern at the scye is marked in the same way (see at ��). It is a good plan to take out a small vee at the ront edge o opening, as shown just below is. Tis style is suitable or both black and white waistcoats. Te outlines indicated by the dash lines are, however, intended or white waistcoats only. Tey indicate the design o the backless style, very popular nowadays. Details are as ollows: Te back neck piece is about �” wide; the width o the orepart shoulder is made to match. Curve gradually rom shoulder to side-seam at a point about �½” above ��. Te bottom edge at the side-seam is ¾” above ��. Te back-straps may be continuations o the orepart, or they may be cut separately and attached at the side-seam position in the waist.
S������ A
Tis shows a variation in collar shape. Te edge o the opening is hollowed slightly and the actual collar has a rounded contour. Te buttoning section is a little longer and will take our buttons, almost touching. S������ B
Here is depicted a pleasing style o double-breasted ront, in which the opening is run straight down to the ront waist at ��. �� rom �� is �¼”; �� rom �� is �”; �� rom �� is �¼”. Te width o the collar may be varied to taste; in this case it is �” at the top and �” at the base. Sometimes, the section ��–��–��–�� is cut separately and seamed on in the line ��–��. I this is done, allowance has to be made or two seams. S������ C
Another style o double-breasted ront is shown in this section. It is similar in construction to the one just described, but the collar has a rounded contour and the bottom edge has long, gradually sloping points. �� rom �� is �”. point �� alling just below the waist line. �� is about �” rom ��, the edge running in slightly. �� is �” rom �� and is located about �” below the waist line. Shape the bottom edge rom �� through ��, to ��, giving it a very slight hollow. Width o the roll collar should be about �” at the widest part (just above waist line). S������ D Te importance o considering the length o the dress-coat ronts is emphasised in this diagram, which indicates a method o cutting a white waistcoat orepart in two pieces. Te general design is similar to that shown in the main diagram, and is o the backless type.
Tis draf is made rom the orepart o the dress coat, shown by the dash outlines. Te procedure is as ollows: � is �¼” in ront o the coat neck point.
WAISCOA �OR VES� CU ING � is on the waist line and the ront centre line, �. � is at the position o the average waistcoat side-seam. � and � are ¾” beyond the centre line. Draw the opening rom � to �, which is about �” above �. � is �” rom � and �” behind the centre line. It is marked about ½” above the run o the dress coat at this part. Draw a curved line rom � to �, as shown. Te ormer point is located at just above �� on the main draf, the latter is at the dart position on the bottom edge. Open ½” at � and � , and cut through to make the two sections, as indicated. One seam must be allowed on each section when cutting rom the material. Te back-straps are illustrated as being sewn on at �.
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N���: All the collars shown here are o the “laid-on” type; the method o their attachment is the same as that described in the draf o double-breasted waistcoat. In the case o white waistcoats, careul note o the length o dress-coat ronts and trousers rise should be taken at the time o measuring—or at the fitting. Te present-day tendency or short-ronted dress coats demands both a short waistcoat and a relatively high rise to the trousers. Tere is nothing more unsightly than a dress waistcoat showing below the coat ronts, with part o the shirt visible between the top o the trousers and the waistcoat points.
DIAGRAM 12.
GENLEMEN’S GARMENS
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DESIGN FOR A “FANCY” WAISTCOAT
Diagram ��
HE so-called ancy waistcoat has a long and interesting history. It has been, in different ages, a garment o many colours. Its reappearance in recent years ended a period in which this waistcoat seemed to have allen rom avour. Present-day examples may not have quite the same gaudiness about them as those o the early part o the century, but they are still airly colourul. Light awns and greys, in plain or check designs, seem to be the most popular materials. Tis type o waistcoat lends itsel to style variations o all kinds. Te one shown in this diagram has flap pockets instead o welted ones; and it has a waist seam across the ront. Tis eature makes the waistcoat a near relation o the Badsworth style, very popular in earlier days. I����������� ��� D�������
Te draf is represented as being made rom a pattern o a standard single-breasted waistcoat, as described earlier in this chapter. Te outline o the pattern is indicated by the dotted lines, and the style being designed is superimposed in solid lines. At some parts the lines are very much the same as or the standard waistcoat. S������ � It is assumed that the basic pattern is or a normal figure o ��” or ��” chest; chest and waist lines are marked across in the usual way. Line �–� marks the ront position o the pockets: it is about �½” back rom the ront edge. Flaps o the our pockets are �½” to �” wide. Drop the waist line rom � to �, in ront, about ¾”; strike the new waist line rom � to � on the side-seam. Te bottom edge, �–�, is about �” below the edge o the basic pattern; that o the back is slightly longer about �½” below the pattern . An “open” vent is made at � on the back seam. Te waist line, �–�, is cut through; it is hollowed about ¼” in the centre o orepart—on the lower section only . Tis will allow a certain amount o “spring” below the waist. I additional “spring” is requited, it may be placed rom � to � and rom � to a point just in ront o �. (See dot-dash lines in each case.) Te more general style o ront edge is indicated by the solid line contour. It will be noticed that the bottom edge o the orepart is relatively straight, as compared with that o the basic pattern: this will counteract the influence o the “lif” which results when the waist seam is sewn up. A warning here—it is never a good plan to take too much out at the waist seam. Tough a certain skirtiness is a eature o such a waistcoat, it should not be overdone. An alternative run o bottom edge, very slightly hollowed, is shown by the dot-dash line.
S������ �
Tis shows the waist portion, with seams allowed. � is the upper part o the orepart and � the lower. An alternative style o bottom and ront is indicated here. Te bottom edge is very slightly rounded, the ront is not cut away. “Spring” is allowed at ront and at the side-seam, as shown beyond the dash lines. S������ �
In this diagram the upper section o the waistcoat is shown, with two small pleats located above the waist seam. A slightly different orm o pattern manipulation has been adopted here. Te pattern is cut up at the two positions where pleats are to be inserted, and two olds (or slits) are made at � and �. When the latter are closed, the pleat amounts are registered. It will be necessary to adjust the contour o the lower edge, as shown, so that too much hollow is not produced when the pleats are made. Te original version o this style o waistcoat showed seven or eight buttons on the ront. Such a number would not be acceptable today; six buttons look quite effective. Sometimes a narrow step collar (“laid-on” type) is adopted. A dart (as dash lines) or backstraps may be employed in the back waist.
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DIAGRAM 13.
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GENLEMEN’S GARMENS
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SLEEVED WAISTCOAT Diagram ��
HIS type o waistcoat is worn chiefly by livery servants in private houses and offices, and is designed on easy lines. Te oreparts are made, usually, rom airly heavy materials; the back and sleeves (which are lined with silesia or striped sleeve-lining) are made rom a strong cotton abric o some kind. Waistcoats o this order are not regarded as being easy to cut and fit, the sleeve being the chie source o trouble. Comparison o the draf shown here with the sleeve drafs illustrated in the coat section o this work will reveal a considerable difference in the shape o the crown. Te waistcoat sleeve has a flatter crown and a filled-in under-hal-eatures which render it easier in wear. In conjunction with this type o sleeve, an increased back width is given. Style o the pockets will vary with individual requirements. Here the upper pockets are shown with welts and the lower ones with flaps—quite a requent arrangement.
M�������: �� ½” natural waist; ��” ront length; ��½” opening; ��” chest; ��” waist; ��” orearm (taken rom base o scye to wrist).
Chest Scale is ½ Chest. Working Scale is ½ Chest plus �”. I����������� ��� D������� Te draf is represented as having been made rom an ordinary single-breasted waistcoat pattern, produced in the manner beore described. Te solid lines o the main diagram (Section A) are those depicting the sleeved waistcoat; the dash lines indicate certain parts o the basic pattern. It will be seen that, in many respects, the sleeved model ollows the lines o the ordinary waistcoat.
T�� S�����—S������ B Square both ways rom �. � rom � is the same as rom chest line to � on the back, less ¼”. � rom �, diagonally, is the same as the combined distances o �–� on the back and �–� on the orepart, less �”.
Te back and orepart shoulders are extended at � and �, respectively, as shown beyond the dash lines o the ordinary waistcoat. � rom the dash line is �”; � rom the dash line is ½”. Shape the scye as shown, filling up rat � and running the contour slightly above the chest line. Te orepart shoulder point is raised slightly at �. Te extensions at � and � indicate the amount the sleeved waistcoat is taken below the outline o the ordinary one at these positions. Te ront length will, o course, be made according to the measure taken; the back length will be adjusted as necessary. (In some cases the back is cut considerably longer than the oreparts— anything rom �” to �”.) Notice the contour at � on the bottom o the back. Tis shows an “open” vent, placed there to give extra ease to the bottom edge. Side vents are also used in waistcoats o this kind. � locates the opening position. � marks the position o a ront dart, i one is wanted. It is not customary to take out such a dart; i one is adopted, it should not be suppressed more than ¼” at the waist line. � marks the back sleeve pitch, �¾” down rom �. � marks the ront pitch, ¾” above the chest line. Six buttons are placed on the ront; a ⅝” button-stand is added on the right orepart, as shown by the dotted lines.
distance rom � to �, less ½”. Connect �–� and �–� by guide lines. � is hal-way between � and �, ⅜” above guide line; � is hal-way between � and �, �¼” above guide line. Shape the crown rom � through �, � and � to �. � is located by applying the orearm measure (taken on the figure) rom �, to which ½” is added. � rom � is �½”; � rom � is �¼”.
� is hal-way between � and �, Square up rom � to �, one-third o the
(Width o cuff may be varied according to taste.) �� rom � is �½”, on a slight slope. Connect � and ��. �� is hal-way between � and �; draw the orearm seam rom � to �, hollowing ¾” opposite ��. �� is squared across rom �� and is about �½” rom that point. Draw the hindarm seam rom � through �� to ��. Te top-hal o the sleeve is now complete. For the under-hal, measure the distance rom � to � (the underscye) and make �� rom � the same amount, plus ½”. Tis will provide a little ullness or the under-hal, which should be placed at the part o the scye between � and �. �� rom � is �¼”. Connect �� to �� and to �� and �; hollowing very slightly between � and ��, as shown. N���: Some waistcoats o this kind have a small step collar, it is usually a laid-on style and is dealt with in the way explained earlier or the double-breasted waistcoat.
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DIAGRAM 14.
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C������ X
GENLEMEN’S GARMENS JACKE AND COA CUING By HE EDIOR
I
N this section will be treated all the various styles o jackets and coats in general wear at the present time. Te term “all,” it should be added, is meant here to embrace those models which might be regarded as standards o the particular types they portray. No extreme styles will be illustrated, or these are not adopted by high-class tailoring firms, and they are not worn by gentlemen who have any claims to be well dressed. Many changes in the general design o lounge jackets and reeers have taken place during the last ten or fifeen years. Tese garments are now cut on uller lines than those avoured earlier. Te waist is not so defined; shoulders have a relatively wide and “natural” contour; sleeves are rather narrow at elbow ‘and cuff. In the drafs which ollow modern style lines are indicated; modifications may be made to suit individual tastes.
Attention is drawn particularly to the waist section. Tis, in the case o the jacket drafs, is moderately suppressed. I still less suppression is desired, reduction o the amounts taken out at side-seam and darts can be quite easily effected. Te proportionate basis o construction inherent in the Chest Measure System will again be used; the two scales already described will be applied. Variations in style and modifications to suit the requirements o different figures can easily be made rom block patterns cut by the method shown. Some o the more requently encountered deviations rom the normal will be detailed at a later stage. N���: In all the drafs shown throughout this section allowance is made or ¼” seams, except where otherwise stated. Additional seams (that is, nonstandard ones) will be specially noted.
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GENLEMEN’S GARMENS
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THE LOUNGE JACKET
Diagram ��
HIS jacket is the one most generally worn by men at the present time. It has had a long popularity, and though the D.B. Reeer is more widely adopted now than it was at one time, the Lounge Jacket is not likely to lose its popularity. Te model shown here is the button-three style, the centre button alling just a little above the waist line. Te side pockets are arranged with jettings and flaps, so that the latter may be turned in i desired. Te general style is easy, with medium suppression at the waist; the shoulders are cut to take a moderate amount o padding at the points.
M�������: ��½” natural waist ; ��” ull length ; � ¾” x-back ; ��” to elbow ; ��” to cuff ; ��” chest ; ��” waist ; ��½” seat.
Chest Scale is ½ Chest—��”. Working Scale is ⅓ Chest plus �”—��”. I����������� ��� D������� Square rom �. � rom � is ½ working scale. � rom � is the natural waist length plus ¼”. � rom � is �” or seat line. � rom � is the ull length plus ½”. Square out rom these points. Mark in ½” rom � to � and rom � to �; join � to � and � to �, thus making
�–�–�–� the centre back seam. � rom � is �⁄� working scale plus ¼”; mark up ¾” to � and shape back neck to �. � rom � is one-ourth o the distance rom � to � and �� is midway between � and �. Square out rom � and ��. �� rom � is ⅓ chest scale. �� rom � is the x-back measure plus one seam (the centre back seam is sewn in the mark). Square up rom �� to locate �� and ��. �� rom �� is ½” and �� rom �� is ¾”. Draw a line rom �� to a point about midway between � and �; use this as a guide or shaping the shoulder as indicated. �� rom �� is �⁄�� working scale; mark out ¼” to ��, as shown. Make a ¼” “step” at this point or the seam. Shape the back scye rom �� to the “step” at ��, as shown. � is ⅝” rom ��; square down rom � to � and �. �� rom � is ½”; shape the side-seam o the back rom the “step” at �� to �, through �� to �, which is immediately below ��. �� rom �� is ¼ chest scale; �� rom �� is �¼”. �� rom � is ½ chest measure plus �¾”. �� rom �� is �⁄� working scale plus ½”. Square up rom �� to ��, making this distance the same as that rom � to �.
Draw a line rom �� to ��. �� rom �� is the same as rom � to ��, less ¼”. �� rom �� is ½”; �� rom �� is �”.
Draw a line rom �� to �� and mark �� hal-way along this line. �� rom �� is ½”. Shape the scye rom �� through �� to �� and on to ⅜” below the “step” on the back at ��. Make a similar “step” at the top o the orepart side-seam. Square down rom �� to �� and ��; this line is reerred to as the centre line On the waist line apply ½ waist measure plus �½” rom � to ��. � rom �� is ⅔ o the distance between �� and ��. �� rom � is the same as rom �� to �. �� rom �� is the difference between the ½ chest and ½ seat measures.
Shape the orepart side-seam, running flush with the back rom the top at �� to a little below the chest line through �� and �� to �. Place balance marks on back and orepart side-seams about �½” below the chest line, as shown by the arrows. Te extra length on the back between �� and the balance mark is eased-in to the orepart. �� rom �� is �”; draw a line rom �� to �. �� rom �� is �”; square down to �� and to � on the bottom edge. ��, which marks the centre o the pocket, is �½” up rom �. (Location of the pocket will, of course, depend upon the height of the figure.) Shape the under-arm dart rom �� to the pocket mouth, and take out, a little above the waist line at ��, the amount shown between � and ��. Tis dart should never be suppressed more than ¾”. Te ront dart is located in line with �� and is suppressed ½” at ��. �� rom �� is �⁄� working scale less ¾”. � rom �� is ½”. Connect � and �� and place the angle o square at � as a guide line
or shaping the gorge. �� rom the centre line is �½” and is �” below the chest line. Draw a line rom �� to �, which is the amount o the collar-stand rom ��—in this case �⅛”. Shape the lapel and ront edge, as shown, marking the latter �½” out at ��. Te width o the ormer in this case is �” at the top. A small dart is taken out, as shown; it is not opened—seamed only. Complete the draf as indicated.
JACKE AND COA CUING Note: When the amount between �� and � is more than ¾”. it is better to increase the suppression rom � to ��, rather than take out a greater amount at the under-arm dart.
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Tere is no need or a lot o “manipulation” with the iron when the coat is being made up; neither is it necessary to draw in to any great extent at the bridle. Te construction is based on lines which do not call or much “working-up” o this kind. A slight stretching o the orepart shoulder about �” rom the neck-point is all that is necessary, with the iron moving towards the scye.
DIAGRAM 15.
GENLEMEN’S GARMENS
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THE DOUBLE�BREASTED REEFER JACKET
Diagram ��
HE Reeer is almost as widely worn as the lounge jacket at the present time; and it is a very stylish garment. It is particularly suitable or making up in light materials, such as saxonies and flannels, and can be worn during the summer months without a waistcoat. Te model illustrated here has the button-two-show-three ronts, the centre button being placed just below the natural waist line. Te lapel is airly bold in design; the pockets are jetted only—no flaps being attached in this case. Various styles o ront are popular nowadays: Button-two; button-one-show-two; and button-one. Te cuffs carry one, three or our buttons, according to taste. An outside breast pocket (welted) is usual in this type o jacket. Construction is exactly the same as that o the lounge jacket draf, with the exception o the ronts. Similar measures may be used and the two scales applied. A little additional length may be an improvement—say, ¾” to �”. I����������� ��� D������� Proceed in the same way as or the lounge, as ar as the centre line, ��–��–��. � rom �� is �¾”; square down to ��. Tis will give a moderate overlap to the ronts and will locate the buttons at �½ to �” apart, laterally. (More or less can be allowed rom centre line to ront edge, as desired.) Te amount o slope at the gorge rom point �� to the step o lapel is slightly greater than in the lounge; this is accomplished by making the distance rom �� to � ¾” instead o ½”. It will be understood that this is a style eature which may be varied as taste suggests. N���: Te lapels o reeer should not be too heavy-looking. Te slight round made on the outer edge o the one shown here is allowed there or making-up purposes; a certain amount is lost during padding and shaping.
Te finished edge o the lapel should be should dead straight; this could not be accomplished I the round were not added. A lapel cut quite straight to begin with would, probably, have a slightly hollow edge when finished. It is not a good plan to make the gorge slope acute—except, perhaps, in the case o a very low-rolling lapel (button-one style, or instance). Te more acute the slope, the longer the collar will have to be; and too great a length o collar above the lapel peak is a bad style eature. It makes the lapel look too short and wide. Similar balance marks are placed at the side-seam (see lounge), and the slight stretching at the orepart shoulder also applies. It will be noticed that the gorge dart is opened about ¼” in the reeer. Tis is the maximum amount o opening; i there is more, there is a tendency or the dart to cause a rounded contour o the lapel crease edge. Such a contour Is not a good eature in this style o jacket, or it makes the upper part o the lapel, too high and reduces the width o the opening between the two lapels when the jacket is buttoned over.
N��� �� W���� S����������
Te amount o the side-seam suppression shown on both lounge and Reeer drafs (at B and ��, Diagrams �� and ��) may be taken as the maximum amount or present-day style. With the uller type o jacket, depicted in the “draped’ model (see Diagram ��), the waist suppression at the side-seam is considerably reduced.
JACKE AND COA CUING
DIAGRAM 16.
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GENLEMEN’S GARMENS THE “DRAPED” STYLE OF JACKET
Diagram ��
I
is difficult to trace the origin o this style o cut— that is, with any certainty. For many years Jackets and coats cut and made in the West End o London have had about them a certain “easiness,” noticeable particularly at the ront and back scyes. Such a eature was in existence there a long time ago; and similar garments made in Continental countries and in the United States were designed in very much the same way. Whether the West End set the ashion, or whether America and the Continent brought it into being, it is next to impossible to ascertain. In recent years the so-called “draped” style has been adopted by tailors in other parts o London and in the Provinces. It might be described as a generally larger type o garment. Not only are the ront and back scyes arranged in such a way as will produce a vertical old o material at their location, but the whole coat is built on ull, easy lines. Its length is ample; it has a longer waist line; and the suppression o its actual waist girth is relatively slight. Further, there is a ull-chested effect. Te style is practically confined to lounges, reeers, and certain types o semi-fitting overcoats. Bodycoats do not lend themselves to quite the same amount o “enlargement” ; though some cutters inuse greater widths at the across-chest and across-back positions o these garments.
Satisactory production o the “draped” style depends upon the efficient co-operation o cutter and tailor. Te cutter must know how to cut and manipulate his pattern in order to inuse the style eatures; the tailor must be skilled in the art o interpreting the cutter’s ideas, and in putting the garment together so that correct orm and shape are given to it. It is not possible, by means o the written word and by diagrams, to give anything like a complete picture o the work involved in the cutting and making o the “draped” style o coat. But a book o this kind would not be serving its purpose ully i something o an attempt were not made to convey at least some o the principles involved in the creation o the style. It is hoped that the ollowing particulars will be useul as a guide— especially to younger cutters who wish to enlarge their knowledge o present-day style trends. In the diagram shown here the dotted outlines are those o a lounge jacket cut on the method already explained; it is designed on the measures used or the first lounge draf in this section o the book. Te solid outlines show the contours o the “draped” model. Let it be said at the outset that the style indicated is moderate in character: this is an endorsement o what was stated earlier. Tere are some very extreme and exaggerated examples o “draped” coats to be seen in wear; but they cannot be considered good models.
I����������� ��� D�������
�� numbered points occupy the same positions as their counterparts on the first lounge draf. Back and orepart are laid out separately, about �” apart. Strike the chest line across rom �. At the waist, the upper horizontal line is located at the natural waist position, as indicated by the measure. Te line rom � is the dropped waist line or the “draped” style. �–� shows the increased length. With � (on the new waist line) as a pivot, sweep orward ¾” beyond normal pattern at ��; � rom � is �½”. Mark the “step” at �� and draw the side-seam rom this to �, as indicated. (In some cases a uller back waist may be desired; this is shown by the dot-dash line running through � to �.) Continue the side-seam down rom � through �� to �. �� is raised slightly above its normal position. Connect �� to ��, as shown.
A strip o linen, about ½” wide, should be sewn rom �� to a point just below ��. It must be only very slightly tighter than the cloth at that part. No drawing-in should be done. Te centre back seam is drawn straight down rom top to bottom, as indicated. Continue the sweep rom �� until it contacts the top o the orepart side-seam. Extend the orepart a ull ½” beyond the normal (see dash lines), and run it into �, which is �¼” below ��; continue rom � through �� to �, as shown. Adjust the balance marks accordingly in order to preserve the amount o hack to he cased in rom ��. �� indicates the normal position o the neck-point line; or the “draped” style �� is advanced ¾” (or more, i a uller effect is required at ront scye).
JACKE AND COA CUING Locate �� in the usual way and curve the new scye, as indicated. Te under-arm dart, ��, is moved orward about �¼”. and is terminated at �. �½” down rom the chest line. Te ront dart, ��, is placed in very much the same position as that on the normal draf. In this case it is represented as being taken right through to the bottom edge—a requent eature in this style, especially when it is desired to keep the edge close. Te best way o doing this is to slit the pattern up rom the bottom to �, about �” rom ��, and to open out in the manner indicated by the dot-dash lines. Te solid lines between these show the adjustment o the dart or seaming. (Fuller description o this pattern manipulation will be given later.)
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Te effect is to throw the ront part o the orepart orward, as is shown by the solid-line contour o the ront edge. Te dash contour is that o the normal pattern. It win be seen, too, that the centre line automatically changes. Te solid line squared rom �� is the normal one; the dot-dash line passing rom �� through �� is the new centre line, �� having been dropped to the “drape” waist line.
DIAGRAM 17.
GENLEMEN’S GARMENS
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PATTERN MANIPULATION
Diagram �� S������ A
S������ B
H
Tis section illustrates another method o manipulating the pattern, which produces a result similar to the one just described—without taking the ront dart right through. It is particularly useul when dealing with striped or checked cloths; there will be no distortion o the cloth design below the pocket mouth, which is sometimes a trouble when the ront dart is extended. In some cases, even when a moderately “draped” style In this second method it is essential to carry the is desired, the termination o the under-arm dart below under-arm dart through the scye. Te dart is marked in the scye is not entirely satisactory. Tere is always the the usual way at top and waist, and is earned down in a tendency, during making-up, or material to be pushed straight line rom the pocket position to the bottom edge. back under the scye. Tis will cause a kind o bunching at that part—a very unsightly effect. ype o figure and quality o workmanship available will determine the cutter’s plans in this matter. I����������� ��� D������� ERE is a typical orepart pattern, on which are shown the method and result o a particular orm o manipulation. Te under-arm dart is represented as having been taken through to the scye; but it may be orwarded and made to terminate below the scye, i desired, as indicated in the “draped” draf. In the present instance, the ront dart is located a little arther back than in the previous draf; it is, however, taken through to the bottom edge.
S������ A
S������ B
Point � is located about �½” back rom the neck point. Point � is about �” rom the bottom o side-seam. Draw a line rom � to �. Te pattern is now cut; up along the line rom � to �. Now move the ront part orward at the bottom (placing the finger at �) until point � comes to point �—�” in this case. Te dot-dash lines show what happens when this is done. Te opening at �–� may be increased or decreased according to taste. Now mark the standard ront dart, making its suppression about the same amount as shown on earlier drafs, as at � and �. Advance ¼” at � and � and extend the dart down, as indicated by the solid lines. It will be seen that the across-chest contour has been increased, the ront section o the divided orepart having come orward at the lapel crease line and the ront edge; the solid line contour at gorge, lapel point, and right down the ront being the new outline o the orepart. I it is not desired to open the bottom o dart as much as is shown in this diagram, the ront portion can be drawn in the dotted line. N���: Te pocket mouth is shown as it will be marked afer the extended dart seam has been sewn up.
Cut the pattern through rom � to �, as shown. (Te rear section will remain as cut.) On the ront section, cut along the pocket mouth (already marked) rom � to �; then cut up rom � to �, the latter point, in this case, being ¾” back rom the neck point. Te section is now in two pieces. With the finger at �, move the rear piece rom � to � and rom � to �. Tis movement will cause � to pass up to � and will produce the outline indicated by the dot-dash lines. Te ront dart is now suppressed in the usual way, as at �. Te dotted lines are those in which the dart will be cut, seams having been allowed so that the two edges o pocket mouth are the same length afer the dart has been sewn up. Tis operation is done first, when the coat is being made. Te rear section o the orepart is then sewn on to the ront. Balance marks should be put in at � and �, or the contour o �–� must be exactly the same as that o �–�; below the pocket mouth �–� on the ront section will sew to �–� on the rear section. Again, a certain amount o additional chest contour has been produced; at the same time, the bottom edge has been shortened. Te latter effect is ofen asked or as a style eature.
N��� O� T�� D�����
It is to be understood that the actual marking out o the ront edge and dart o Section A, and o the extended under-arm dart pocket and ront dart o Section B, will be done on the material at the time o cutting. In short, the changed contours are marked rom the manipulated pattern.
JACKE AND COA CUING
DIAGRAM 18.
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GENLEMEN’S GARMENS
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S.B. HACKING �SPORTS� JACKET
Diagram ��
S
RICLY speaking, the term “hacking” should be applied only to certain types o jacket worn in the hunting field; but nowadays it is used to describe a style o leisure-wear jacket which has side slits or a centre vent. Te draf shown here is o such a garment, the main eatures o which are: Button-two ronts; slanting side pockets, with flaps; semi-fitting and moderately skirty. Usually an outside breast pocket is inserted and, in some cases, an outside flapped ticket pocket is placed on t he right orepart—about I.r above the side pocket. A pattern cut on the same lines as those depicted in the Lounge Draf could be quite readily adapted to the cutting o a Hacking Jacket; but there are certain differences which may be made clearer by giving detailed particulars o the draf.
M�������: �� ½” natural waist; ��” ull length; �” x-back; ��” to elbow; ��” to cuff; ��” chest; ��” waist; ��½” seat.
Chest Scale is ½ Chest—��”. Working Scale is ⅓ Chest plus �”—��”. I����������� ��� D������� Square rom �. � rom � is ⅓ working scale. � rom � is the natural waist length plus ¼”. � rom � is �” or the seat line. � rom � is the ull length plus ½”. � rom � and � rom � are each �”; draw centre back seam, as shown. � rom � is �⁄� working scale plus ¼”; square up ¾” to �. Shape the back neck as indicated. � rom � is ¼ distance rom � to �. �� is hal-way between � and �. �� rom � is ⅓ chest scale. �� rom � is the x-back plus � seam (centre back seam is sewn in the mark). Square up rom �� to locate �� and ��. �� rom �� is ½”; �� rom �� is ¾”. Shape the back shoulder seam rom �� to � in the manner described or the lounge. �� rom �� is �⁄�� working scale; mark out ¼” and make a ¼ “step,” as at ��. Shape the back scye rom �� to the “step” at ��. � rom �� is ⅝”; square down to locate � and �. �� rom � is �” or this style o jacket. Shape the back side-seam as indicated, making point � �½” rom the line squared down rom �. �� rom �� is ¼ chest scale; �� rom �� is �¼”. �� rom � is ½ chest measure plus �¾”. �� rom �� is �⁄� working scale plus ¾” (a little more than in the lounge). �� rom �� is the same as rom � to �. Connect �� to �� and on this line locate �� rom �� at the same distance as rom � to ��, less ¼”.
�� rom �� is ½"; �� rom �� is �”. Connect ��–�� as a guide and shape the scye, as shown, curving round to �� and making a “step” on the orepart ⅜” below that on back. Square down rom �� to �� and ��. On the waist line apply ½ waist measure rom � to ��. � rom �� is ⅔ o the distance between �� and ��. �� rom � is the same as rom �� to �. �� rom � is the same as �� rom �. (Tese amounts may be varied according to the amount o “flare” required in the skirt section.) Shape the orepart side-seam as indicated, making � �½” rom the line squared down rom �. Place the balance marks as shown by the small arrows. �� rom �� is �”; connect with �. �� rom �� is ½”; square down to �� and �. Use �� as pocket centre and mark the moderate slope, as shown. Shape the under-arm and ront darts at �� and �� in the same way as explained in the lounge draf, but suppress them slightly lower. Te under-arm dart is terminated �” below the chest line. �� rom �� is �⁄� scale less ¾”; � rom �� is ¾”. Connect � and ��; place angle o square at � and draw a guide line or shaping the gorge. �� is located on the dropped suppression line and is �½” in ront o the centre line. � rom �� is �⅛” or collar-stand; draw the crease line rom � to ��. Shape the lapel and ront edge as indicated. Te lapel is airly bold in design or this type o garment, being about �” wide at the top. Note: Te side slits, indicated by the shaded portions, are made �½” to �½” long. Tey are tacked at �� and ��. Inlays are lef on both back and orepart, as shown.
JACKE AND COA CUING Te general character o jackets in this design should be easy. Less may be taken out at the side-seam in the waist, i desired, but the coat should have a certain amount o shapeliness about it. A semi “draped” effect can be obtained by overlapping the tops o back and orepart side-seams at ��—about ½” or ¾”.
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It will be seen that the points � and � are slightly above the line squared rom �. Tis gives a certain rounded contour to the bottom edge. Te respective lengths o back and orepart sideseams must agree; they should be checked beore cutting.
DIAGRAM 19.
GENLEMEN’S GARMENS
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SINGLE�BREASTED BLAZER
Diagram ��
HE blazer is worn by members o various sports clubs, and is usually made rom specially selected materials. Public schools, too, adopt the garment, having their particular colours and patterns. In general character this type o jacket is easy and ample. In earlier days it was cut almost straight-hanging, but most examples seen at the present time have a certain amount o shape inused into them. Some gentlemen, indeed, like their blazers to be shaped at the waist in very much the same way as a lounge. Te present model has patch pockets, without flaps, and is made to button three. It is usual or an outside breast pocket to be added, the same style as the side pockets.
M�������: �� ½” natural waist; ��” ull length; � ¾” x-back; ��” to elbow; ��” to cuff; ��” chest; ��½” waist; ��t” seat.
Chest Scale is ½ Chest—��”. Working Scale is! Chest plus �”—��¾”. (In a case o this kind, when the garment is to be cut on easy lines, ��” may be taken as the working scale.) I����������� ��� D������� Square rom �. � rom � is ⅓ working scale. � rom � is the natural waist length plus ¼”. � rom � is �” or the seat line. � rom � is the ull length plus ½”. When the blazer is being cut rom a material with a very prominent design (as the one shown here), it is better to mark the centre back-seam straight down in the construction line, as shown rom � to �. I the material is plain, or i the figure requires it, the contour o the lounge back-seam may be ollowed, as indicated by the dash lines �–�–�. Most blazers o prominent design are cut with a whole back, in order to avoid distortion o the stripes. I a back seam is inserted, care must be taken to arrange its location so that the least intererence with stripes takes place. � rom � is �⁄� working scale; mark up ¾” to � and shape the back neck rom � to �. � rom � is ¼ the distance rom � to �. �� is midway between � and �. �� rom � is ⅓ chest scale. �� rom � is the across-back measure plus one seam. (A urther addition o width may be made to this part, i desired. Te back seam is, as in the previous drafs, sewn in the mark.) ��, ��, ��, and �� are located exactly as beore. Connect �� and � or the back shoulder-seam, shaping it as shown. �� rom �� is �⁄�� working scale; mark out ½” to �� and mark the “step,” as shown. � is ⅝” rom ��; square down rom � to � and �. �� rom � is ½”; shape the side-seam, as indicated. �� rom �� is ¼ chest scale; �� rom �� is �¼”.
�� rom � is ½ chest measure plus �¾”. �� rom �� is �⁄� working scale plus ¾”. �� rom �� is the same as rom � to �. Draw a line rom �� to �� and locate �� on this line as described previously.
�� is ½” below ��; �� rom �� is �”. Strike a guide line rom �� to �� and shape the scye round to the “step” at ��, as indicated. Square down rom �� to locate �� and ��. On the waist line apply ½ waist measure plus �½” rom � to ��. � rom �� is ⅔ the distance between �� and ��. �� rom � is the same as rom �� to �. �� rom �� is the difference between the � chest and t seat measures. Shape the orepart side-seam, as shown. (Both the amounts o waist suppression and seat “spring” may be varied to taste.) Place balance marks, as indicated by the arrows. �� rom �� is �”; draw a line rom �� to �. Te ront edge is �¾” beyond the centre line at ��. �� rom �� is ½”. Square down rom �� to locate �� and �. Te ormer fixes the centre o pocket; the bottom o pocket is about �” above �. Depth o pocket patch or a blazer o this size would be about �” to �½”. An under-arm dart (½”) is taken out at ��. No ront dart need be adopted in a garment o this type, unless the customer wishes or a rather close-fitting waist. �� rom �� is �⁄� working scale less ¾”. � rom �� is i”; connect � and ��, place angle o square at �, as a guide line or shaping the gorge. �� rom centre line is �½” and is about �¾” below the chest line. � rom �� is ��” or collar-stand.
JACKE AND COA CUING Draw the crease line rom � to ��. Shape the lapel and ront edge, as indicated, making the latter �¾” in ront o �� on the waist line. Complete the draf. NOE: Te ronts should not be cut away too much above �� at the bottom. Some blazers are cut almost straight down rom ��, and are just slightly rounded at the extreme bottom—just above ��.
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With regard to the waist, i the whole back is adopted, the ½” existing between � and � need not be calculated when measuring up the ½ waist. Te little extra ease will be an advantage in this type o garment. Te procedure or cutting a double-breasted blazer is exactly the same as that described or the reeer, the addition over the centre line or the ront edge being determined by the overlap and button spacing desired
DIAGRAM 20.
GENLEMEN’S GARMENS
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S.B. DINNER JACKET
Diagram ��
HE basis o construction or this garment is similar to that adopted or the lounge. Full details o the draf shown here will be given, added to which will be the slight differences made in the design. Dinner jackets are cut ull in the chest region, moderately close-fitting in the waist, and airly “snug” at the hips. Te most usual side-pocket style is the jetted; and the welted outside breast pocket is generally eatured. Te ronts asten with a link button; cuffs have three or our buttons.
M�������: �� ½” natural waist; ��½” ull length ; � ¾” x-back; ��” to elbow; ��” to cuff; ��” chest; ��” waist; ��½” seat.
Chest Scale is ½ Chest—��”. Working Scale is ⅓ Chest plus �”—��”. I����������� ��� D������� Square rom �. � rom � is ½ working scale. � rom � is natural waist length plus ¼”. � rom � is �” or seat line. � rom � is the ull length plus ½”. � rom � and � rom � are each ½”. Draw centre back-seam �–�–�–�. � rom � is �⁄� working scale plus ¼”; mark up in to � and shape the back-neck, as indicated. � rom � is ¼ the distance rom � to �. �� is midway between � and �. �� rom � is ⅓ chest scale. �� rom � is the across-back measure plus one seam (back seam sewn in the mark). ��, ��, ��, and �� are located as beore. Draw the back shoulder-seam rom �� to �, as shown. �� rom �� is �⁄�� working scale; mark out ¼” to �� and make the ¼” “step.” � is i” rom ��; square down to � and �. �� rom � is ½”; shape the back side-seam, as shown. �� rom �� is ¼ chest scale; �� rom �� is �¼”. �� rom � is ¼ chest measure plus �¾”. �� rom �� is �⁄� working scale plus �”. Tis represents an increase on the amount quoted or the Lounge, as will be seen by comparison with the dot-dash line behind point ��. �� is squared up rom ��, as beore, thus producing a slightly more orward neck-point—in short, a “straighter” cut. Measure the back shoulder-seam rom � to �� and make the distance rom �� to �� the same, less ¼”. Te slope o the shoulder is established in exactly the same manner as described in the Lounge Draf. Te guide line has not been introduced here so that the Dinner Jacket outline may be seen more clearly. (Te dash line contour is that o the Lounge.) �� is the same. Shape the scye round to ¼” below the “step” at ��, as shown.
Square down rom �� to locate �� and ��. On the waist line apply ½ waist measure plus �½” rom � to ��. � rom �� is the distance between �� and ��. �� rom � is the same as rom �� to �. �� may be located as in the Lounge (see the dash outline at that part). I the extending under-arm dart is adopted and it is not desired to make the hip section close, the contour o the orepart side-seam should be made as the solid outline rom �� to �� and �. I this kind o dart is not used, the location o �� will be effected exactly as in the Lounge Draf; and the remainder o the orepart will be drafed as shown. Place balance marks, as beore. �� rom �� is �”; connect to �. Shape the ordinary under-arm and ront darts at �� and ��, as described earlier. �� rom �� is �⁄� working scale plus ½”. � rom �� is �⁄� working scale plus �”. Shape the gorge, as indicated. �� is �” out rom the centre line and is ¾” above the waist line. Shape the lapel and ront edge as shown. Te width o the ormer at the position o � is �½”; this may be varied according to taste. ake out a ¼” dart at the gorge. Complete the draf. N���: All the contours indicated by dash lines are those o the standard Lounge Draf (button-three style). It will be seen how the lounge block pattern can be used or production o the Dinner Jacket. Te under-arm dart may be terminated at �, i a uller effect is wanted at the ront scye.
JACKE AND COA CUING
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S������ A
Tis diagram shows the preliminary arrangement o the pattern or the manipulation already described. Te under-arm dart is cut through rom �� to � (see also on the main diagram). Cut along pocket mouth rom � to � and up the ront dart through ��.
�–� represents the contour o the lower part o the extended dart. Te amount shown between � and � is that actually removed rom the bottom o the jacket by this method. (It is represented by the shaded section on the main draf.) When the ront dart is seamed up, the contour ���–��–� will join to the contour ��–�, thus completing the extended dart.
DIAGRAM 21.
GENLEMEN’S GARMENS
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DOUBLE�BREASTED AND SHAWL�COLLAR DINNER JACKETS
Diagram ��
HE double-breasted style o dinner jacket has become very popular in recent years. It has much to commend it to the well-dressed man, or its lines are bold and dignified. Something o a revival has occurred in the case o the shawl, or roll, collar style, which was at one time the most widely adopted type o dinner jacket. Its return to popularity is not likely to be short-lived; the style gives tailors scope or the creation o graceul and attractive lines. I����������� ��� D������� S������ A
S������ B
Tis shows the orepart o a typical D.B. Dinner Jacket. It is constructed by the same system as that used or the previous draf, its back section being produced exactly as that o the singlebreasted model. Differences in the drafing o the orepart are as ollows: �� rom �� is �⁄� working scale plus �”. � rom �� is ⅓ working scale less �”. � rom �� is �½”. (Tis amount may be varied according to the extent o overlap required.) �� rom � is �½”. Mark � at �” rom ��, or the collar-stand, and draw the crease line rom
Here is the shawl-collar style o ront; details o its ormation are set out below. �� rom �� is ⅓ working scale less ½”. � rom �� is ⅓ working scale plus �½”. Curve the gorge down rom �� to �, as shown. � and �� are located in the same way as in Section A.
� to ��.
Tis arrangement will place the lower buttons about �” above the pocket level. Te buttons are spaced about �½” laterally and roughly the same amount vertically; but the non-astening buttons are set out ¾” to �” rom the vertical, as indicated. �� rom �� is �”; � rom � is the same. Draw the bottom edge as shown. Te dash line rom �� runs to a point ¼” above � and marks the contour o the right orepart, which is cut this way in order that it may be concealed by the lef orepart when the garment is in wear. Te under-arm dart is shown drafed in the usual way, with its termination marked at � and the line o its extension downwards (i this is decided upon) to �. �� may be located according to the amount o contour wanted at the hips.
Te width o the shawl lapel should be such as will give it, when turned back, a bold appearance—but not too heavy. In this case the width at the chest line is �”. and at the waist line �¼”. N���: Te button-one-show-two style depicted in Section A can be adopted or the shawl model. It is the most generally avoured style o ront or double-breasted dinner jackets.
JACKE AND COA CUING
DIAGRAM 22.
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GENLEMEN’S GARMENS
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PREPARATION OF CANVASES
Diagram ��
I
is obvious that when darts and cuts are taken out o coats, in order to inuse shape, something o the same kind must be done to the canvases which are to go inside them. Correct treatment o canvases plays a very important part in successul making-up; and though this is more nearly the concern o the tailor, the cutter should know what has to be done in the matter. oo ofen canvases are cut very carelessly—especially when they are intended or use in the rough baste, or trying-on purposes. In many firms it is the custom or the baste to be prepared by a workman who is employed specially or such work; he is allowed to slash away at the canvas in a manner not calculated to give anything like good results. Te tailor who ultimately has to make the coat may find the canvases difficult to handle effectively. Tis is something that should be watched very closely. S������ A
Tis is an illustration o a orepart canvas—cut on the straight. A flax, or linen, material is indicated here; hair canvas may be used, i preerred.
�–� represents the gorge dart, alling on the same position as that taken out in the coat orepart. � indicates the linen bridle. (Tis, o course, will be put on at a later stage; it is shown here in order to demonstrate its location.) �–� is a cut in the canvas; this is opened out so that a “puff” can be inserted. �–� is a similar cut, in which also a “puff” will be inserted. �–� is a cut which takes the same position as the ront dart in the orepart.
Te shaded portions at � and � show the texture o the abric and indicate its warp and wef. Te cut �–� will have its edges overlapped— not seamed —the same amount as has been taken out at the gorge dart. Te edges o cut �–� will also be overlapped; the same amount will be olded over as was taken out o the ront dart in the orepart. Te effect o these overlaps will be to produce a certain amount o chest contour; and this will be increased by the drawing-in o the bridle. It must be stated here that the bridle must not be drawn in too much. Te linen, or stay-tape, should be held just slightly tight on the canvas.
Te “puff” at �–� should be about �”; that at �–� about ½”. S������ B
Here is a similar canvas, but cut on the bias; the shaded portions at �, �, and � show varying degrees o this. No gorge dart is taken out, but the “puffs” at �–� and �–� are again put in. Tey need not be quite so large in this case, as the bias o the canvas will give the extra “yield” at those parts. Te dart �–� is taken out in the same way as beore. Many houses preer to cut their canvases in this way because o certain advantages. Te bias o � will give scope or chest manipulation; that o � will place the bridle on the straight (a good eature); and that o � provides or stretching at the shoulder and scye positions. Te adoption o this bias may eliminate the need or “puffs” at �–� and �–�. Anyone o these biases is effective. S������ C Tis diagram shows the effect o the “puffs” inserted at �–� and �–� o Sections A and B; also the effect on the chest part o the canvas produced by the cuts at �–� and �–�.
DIAGRAM 23. �A, B, C�
JACKE AND COA CUING A� A���������� T� “P����” Te dash line on Section A indicates a method o cutting the canvas in two separate pieces. Te lower and smaller piece would be shaped at �–� in order to orm a dart when joined to the upper piece. Likewise, at � a slight “spring” would be given at the lower piece so that, when joined to the upper, the equivalent o the “puff” would be provided. Te “puff” at �–� would be inserted as already described.
S��� M����� I����
Tere is considerable diversity o DIAGRAM 23. �D� opinion amongst cutters as to the best way o dealing with canvases S������ D in the modern styles o jackets and Certain other canvases and materials are coats. Whilst it is dangerous to usually attached to the main canvas, as generalise on an aspect o tailoring shown in this diagram. � is a type o hair canvas which extends so variable, depending, as it does, through the shoulders and over the upper on a number o actors (class o part o the chest region. trade, quality o materials, and grade � is a elt material which is attached to the o workmanship), it may be helpul hair canvas in the area shown by the dot- to give one or two hints. dash lines. Te slitting and “puffing” shown It will be noticed that � is carried under the bridle and that � is not. Te latter by �–� (Sections A and B) are, in material, being airly thick, would make the opinion o many cutters o the crease o the lapel too bulky and experience, unnecessary. Tey would prevent its rolling over nicely. say that the “puff” shown at Te dash line at �� indicates the position o �–� is sufficient or the shaping the “puff” in the main canvas underneath; the solid line at �� shows the position o a requirements o the modern-cut “puff” in the hail canvas and a slit in the shoulder. I this “puff” is made elt. (A “puff” in each would be inclined sufficiently large, its influence to make too much thickness.) extends to that part o the canvas Te solid line at �� represents a cut taken which alls along the ront o scye in out o both hair canvas and elt at that the coat. When the canvas is put in part; the dot-dash line at �� is the “puff” the coat, a small amount o the extra �–� o the main canvas. � represents a thin layer o wadding, length given by the “puff” is allowed sometimes attached to a piece o waistcoat to pass up towards the neck-pointinterlining, extending round the armhole. rom �; the remaining and larger Tis is a helpul addition when dealing with amount o that length is passed figures which are rather “poor” in this area. towards the shoulder end. Te result One ply, or at the most two plies, o wadding o this movement is an increase o is all that need be used. oo much thickness and bulk here is likely to the length down the ront o scye. cause trouble. Such wadding should always Te whole idea is to avoid be securely attached to the canvas in ront weakening the canvas in the scye and careully serged in round the armhole region. As was implied earlier, too when the sleeves have been inserted. many slashes and cuts will tend to reduce the support that is required
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rom the canvas. Tis applies particularly to the “draped” style o coat, which must have a certain “hold” in the ront scye region i the all o the “drape” is to be satisactory. When the canvas is cut on the bias, as shown in Section B, the “puff” at �–� may be reduced to ½” and that at �–� may be eliminated. A word about Section D. Te canvas and elt indicated by � and � can be cut away rom the scye, as shown by the dash line curving rom just in ront o ��. Tis again applies to the “drape” style; i the materials o � and � are taken right into the scye they may create a stiffness there which will interere with the old o the ront “drape.” In some houses, indeed, the main canvas is also cut away at this part. It will hardly be necessary to add that the wadding shown at � will not be effective in this style o coat: the back section must be allowed to hang ree.
Lastly, a comment on Section B. It has been noted that no gorge dart is taken out o the canvas shown here, it being assumed that no such dart has been employed in the cutting o the orepart. Quite a number o cutters dispense with this particular dart, especially in the relatively high button-three style o coat. Teir opinion is that the general cut o the modern coat rules out the necessity or a gorge dart—except in cases where the figure requires some additional “control” in the neck and gorge region. It will be understood, o course, that when a gorge dart is employed in the orepart a similar one must be taken out o the canvas.
GENLEMEN’S GARMENS
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SLEEVE CUTTING
Diagram ��
HE method o cutting sleeves shown here is based upon measurements taken in the scye o the coat, these measurements being applied to the sleeve. Relationship o sleeve to scye is a undamental thing, and great care should be given to it. Any deviations made on the coat to meet the requirements o different figure ormations must be, in some way, transerred to the sleeve. Location o the ront and back pitches, too, is a most important matter. It is strongly advised that the cutter should be sure where he wants these to be, and that he should mark them on the garment. o leave the placing o pitch marks to the tailor is, apart rom being unair to him, a very unsatisactory way o going on. Te cutter usually has the opportunity, at the fitting, to check the location o sleeve pitches. Te system given below will produce a sleeve o standard design, adaptable to the type o armhole depicted in all the oregoing coat drafs; it may also be used or the overcoat drafs which appear later (Chapter XI)—those having a similar type o armhole or scye. I����������� ��� D������� S������ A
Here is illustrated the upper part o the coat draf, with the scye marked in preparation or the sleeve construction. Te ront pitch, �, is located ¾“ above the chest line. Te standard back pitch, �, is placed rom � ½ the distance between � and � less �”. Te lowered back pitch, � (most requently adopted at the present time), is ¾” below �. Tis amount may be increased, as it is in some houses, to �” or �¼”. It will be seen that the system is adjustable to any particular location o the back pitch. � and � are the shoulder points o back and orepart, respectively; they correspond with points �� and �� on the main drafs already described. T�� S����� D����—S������ B
Square lines rom �. � rom � is the same as rom � to � on Section A, less ¾”. � rom � is the same as rom � to � on Section A, less ¾“. Measure round the upper part o the scye rom � to � on the back; place this amount at � on the orepart and continue down to �, the ront pitch mark. Apply the total amount thus registered, less ¾”. rom � to �—in a direct line, as shown. Point � is located on the line squared rom �. � rom � is hal the distance rom � to �. � is midway between � and �.
Square up rom � to �. Shape the sleevehead, as shown, rom � through � and � to �; continue the contour to �, which is rom � the same distance as �, the dropped pitch mark on Section A, is below �. Square down rom � and in rom � to fix point �. � rom � is ½”; draw a line rom � to �. On the line �–�, square rom � down to ��. Deduct the across, back width rom the measure taken to cuff, making allowance or the two seams taken when the sleeve is sewn in, and apply the remaining amount by a sweep rom � orward to ��. Tis will establish the ront length o the sleeve; sweep back rom �� to �� or the hindarm length, using � as a pivot. Another and perhaps simpler way o applying the sleeve measure is to make the usual calculations or the x-back width and seams and to register the sleeve length rom � to ��. Ten, with one arm o the square on the line ��–�, and the other arm on point ��, establish point ��. I this plan is adopted, point �� is usually about �½” above ��. �� rom �� is the cuff width, fixed according to taste (in this case it is ⅓ working scale (��”. as in the Lounge Draf) plus ¼”. �� is midway between � and ��. �� rom �� is �”; shape the orearm rom �� through �� to �, as indicated. �� rom �� is ⅓ working scale plus �¼”.
(Tis point may be located by applying the elbow measure—in a manner similar to that described or the ull length o sleeve.) Draw the hindarm seam rom � to �� and ��, as shown, avoiding too much curve between � and ��. Te top-hal o the sleeve is now complete. For the under-hal, make �� rom � about ¾” and continue down through �� to �� the same distance in rom the top-hal. Tis arrangement will have the effect o locating the hindarm seam on the old o material at elbow; also, the orearm seam will be placed in such a way as will ensure the correct draping o the ront o the sleeve.
Tis really begins at a position about �” above the pitch mark �. Draw a line rom � to �. Measure round the under part o the scye rom � to �, but just clearing the “step” at top o side-seam (Section A), and apply this amount direct rom �� to ��, locating the last point on the line �–�, on the level o �. Make small “steps” at �� and ��, as shown, or the seams. �� rom �, on the line �–�, is �⁄� scale plus ¾”.
�� is midway between �� and ��, and is sunk ¾” below the line �–�. Shape ��–��–��–��, as shown; and connect �� and is with a line o similar contour to that �–��. Complete the draf. Insert balance marks at the orearm seam, as shown.
JACKE AND COA CUING S������ C Tis diagram illustrates what is known as a alse orearm. Te top-hal, cut exactly as described or Section B, has an addition at the ront, indicated at � and �. Te distance between � and � is ⅞”; that between �� and � is the same. Draw the contour o the extended orearm seam rom � to �. Strike a line rom � to ��, on the under-hal. �� is located on this line �¼” back rom the position on it just below �.
�� rom �� is also �¼”. Tis means that the amount added to the top-hal has been taken off the under-hal; and also that a little urther reduction has been made in order to ensure the correct drape at ront reerred to in Section B. Notice that point � is dropped below the line at �; this is done because the addition to the top-hal has, in effect, become part o the under-hal. Insert the balance mark, as indicated.
�� N���� O� T�� S����� D���� Te dot-dash line rom � to �� on Section B indicates the direction o the sweep or the sleeve length. Tat rom � to �� shows a sweep which is sometimes adopted when an over-arm, or over-sleeve, measure is taken. Tis measure runs rom the collar-stand edge at the neck point, over the shoulder end, and straight down the sleeve. In its application the shoulder width (usually registered when the measure is being taken) is deducted. Some cutters take a orearm measure, that is rom the ront pitch position down the orearm seam o the sleeve to the wrist. Tis is not a very reliable measure, really, or the sleeve on which it is taken may be very much creased; and it may have a alse orearm located well underneath, which makes difficulty in assessing the correct length o the sleeve.
Te balance marks shown on both Sections B and C are important. In the ormer, the under-hal is represented as being eased in slightly between the marks. Tis is quite a good plan. In the case o Section C it may be necessary or the alse orearm o the top-hal to be stretched very slightly between the balance marks, so that the contour will sew evenly to that o the corresponding part o the under-hal. It is always sae to drop point � about ¼”, as shown, as this will give a little extra length. Te shaded portions on Section A indicate where the sleeve is ulled in. It is put in “plain” rom � to �, slightly eased in rom � to �, and ulled in airly well rom this point round to �. From � down to � it is slightly eased in.
Te bulk o the sleevehead ullness, then, is located between the arrows � and �. When the cutter is dealing with large-size figures, he may find the amount given or the width at elbow to be too much. He should check up on this, and adjust the width in relation to the cuff, in order to avoid a “heavy” appearance. Tis is a matter o style, in which the cutter must use his judgment.
DIAGRAM 24.
Te adaptability o the system to the cutting o overcoat sleeves (those with the standard shape o scye) will be readily seen by reerence to the overcoat drafs. Attention is drawn to one actor, however: When the scye o the overcoat is dropped below the chest line—as it is in most cases—the distance rom � to � (see Sleeve Draf, Section B) will have to be calculated with allowance or this drop.
GENLEMEN’S GARMENS
�� COLLAR CUTTING
N���� O� C������
Diagram ��
It will be realised that widths and general shapes o collars are subject to the personal tastes o customers and to the style effects desired by different tailoring houses. Te two styles depicted here are based on the most widely accepted lines. Variations can be effected without vitiating the principles o the system described.
HE diagrams shown here illustrate methods o cutting two standard types o collar—the step and the shawl (or roll) style. Instructions given or the ormer will apply, in principle, to the collar o the double-breasted reeer: the design at the lapel peak only being different. Te same basic construction is also applicable to overcoats in which the gorge shape is similar. I����������� ��� D������� S������ A
Te upper part o the coat pattern is represented here, with the height o collar-stand registered at ��–�. � is immediately opposite point ��. Extend the crease line. �–�–�. � rom � is the same as the distance between � and � on the back neck, plus ½”. Te collar-stand in this case is �”; the all is �⅝”. � rom � is ⅝”; � rom � is �”. Curve gradually rom � to �, as shown. Draw a line through � and �, locating � and �. � rom � is the stand width (�”); � rom � is the all width (�⅝”).
Quite a number o cutters allow their tailors to cut the collar. Tis is all right so long as the latter knows what style and shape are required. Tere must always be the closest co-operation between cutting-room and workroom in this important business. No attempt will be made here to resolve the argument as to whether cutter or tailor should cut the collar. It is not possible to dogmatise on the subject without raising a lot o counter-arguments. Te cutter is advised to adopt the course which his experience tells him gives the best results, and which pleases his tailor (or he must be considered in the matter!). However, the cutter should certainly know something about the cutting o collars. It will be noticed that on the diagrams the gorge dart is represented as being closed. Tis calculation must be made when collars are being cut, so that the gorge contour is the correct length.
Curve the stand rom �, through a point about hal-way between �� and ��, down to ��. Te last point is ¼” below the run o the gorge. At the step, �� is �½” rom �� and �� is �½” rom the line ��–��. Tere is a “spring” o ¼” at � and �. Shape the outer edge o all as rom � to ��, hollowing slightly.
Complete the draf. S������ B
Tis shows the shawl style o collar which was mentioned in connection with one o the dinner jackets detailed earlier. Its main construction ollows very closely that o the step collar. � is ¼” above the level o point ��. Extend the crease line �–�–�. � rom � is the same as the distance between � and � on the back neck, plus ¾”. Te collar-stand in this case is �⅛”; the all or the shawl style is about �”.
� rom � is ½”; � rom � is �¼”. Curve gradually rom � to �, as shown. Draw a line through � and �, locating � and �. � rom � is the stand width (�⅛”); � rom � is the all width (�”). Curve the stand rom � through a point ¾” behind �� and continue to ��, keeping about in inside the gorge contour as indicated. Tere is a “spring” o ¼” at � and �. Shape the outer edge o the all as rom � to ��, giving a graceul round running in line with the edge o the orepart lapel section, as shown.
Complete the draf.
DIAGRAM 25.
JACKE AND COA CUING
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DIFFERENT STYLES OF BACK Diagram ��
B
EFORE the wider adoption o the Hacking Jacket, described earlier, there were various styles o so-called sports jackets in general wear. Many o these had ancy backs, with belts, pleats, yokes, and other eatures. Te ronts o such jackets were cut very much the same as those o the ordinary lounge, though patch pockets would take the place o the standard flap and jetted styles. Few backs o this order are to be seen today; but they are asked or on occasions. American and Continental visitors to this country request tailors to introduce certain eatures o the kind in the jackets they order.
Te our examples illustrated here are up-to-date ones which might be required at any time. As will be seen, their construction is based on the back pattern o a standard lounge jacket. Te pattern may be used as a oundation, the style eatures being drafed on the cloth when cutting; or a reconstructed pattern may be cut out. Perhaps the latter course is the better one.
I����������� ��� D������� S������ A Tis style has two pleats, as at � and �, ¾” to �” deep. Tey are o the “knie” type and, on each hal o the back, old towards the side-seam. � to � is the chest line; � to � is the waist line. � represents the position o the back seam on the lounge. For the style now being detailed it is best to have a whole back, thereore the contour o the centre back is marked straight down rom the neck and through � and � to the bottom. Te contour �–�–� is very much the same as in the lounge, but is about ½” arther out at the waist. � rom � is ¾”; draw the new side-seam rom � through � to �. (Beyond this to the bottom It is continued as in the lounge.) It is not designed, in this case, that the back should be almost straight-hanging in the waist section. When the pleats are taken over there will be a certain amount o shape there—a good eature. I larger pleats are made, or i the back waist is required to be looser, the distance rom � to � will be increased accordingly. S������ B Here is a type o pleat which runs rom the shoulder point down to the waist at the sideseam position. Tere is a seam at centre back.
� is the shoulder point; � is the “step” at the top o side-seam—slightly higher than in the ordinary lounge. From a point on the back shoulder ½” rom �, draw a straight line to � on the waist line. Strike guide lines through � to � and �, through � to � and �, and rom � to �. Tese lines are parallel, as indicated.
� rom the point on the shoulder seam behind � is �”, and is raised ½” above the guide line �–�. � rom � is �” and is dropped ½” below the guide line �–�. Draw a line rom � to �. � rom � is ½”; connect �–�. � rom � is ¾” and is located on the extended line �–�.
A more straightorward way, o course, is to have a waist seam; but this may not be pleasing to the customer—unless a hal belt is adopted.
Now draw a line up rom �, parallel With the line �–�, thus marking the pleat old. Te line rom �, when the pleat is olded, alls on the line rom � to just inside � on the shoulder.
Te extension �–�–� is the same contour as that o the original lounge back, as shown by the dash lines. Te best way o arranging the pleat is to old the paper over the amount required and then to mark out the design on the olded paper. When the resultant pattern is opened out, the effect shown in the shaded portions will result. When cutting rom the material, it is a good plan to leave a small inlay above �–�–�, taking away what is not required afer the pleat has been olded over.
Te finished appearance o the pleat is illustrated on Section C. N���: Tere may be some difficulty in dealing with the bottom part o the pleat when it is olded back inside, there being nothing to hold its inner edge. One way o overcoming the difficulty is to place a piece o thin canvas across the back rom side-seam to side-seam, tacking it lightly at the centre back-seam as well as at sides. Te bottom edge o the pleats can be attached to this canvas.
DIAGRAM 26. �A, B, C�
GENLEMEN’S GARMENS
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DIAGRAM 26. �D, E� S������ D
S������ E
Another style o “sports” back is that with small tucks at the shoulder and waist. Tis has been very popular or some time, the tucks being set firmly and so having no tendency to get out o position—sometimes a ault with the pleated back. Te back is cut whole, the centre running rom the neck through � and �. (Te lounge back is marked at �.) Extend the back, about ¾” at � and the same amount rom � to � and � to �. Te dot-dash contour, �–�–�–�, is the lounge outline; mark the “tuck” back as shown by the solid lines. Tree small darts are marked on the shoulder at �, �, and �. Te run o the seam is adjusted at these points, as indicated, so that the slope is preserved. Mark three or our tucks at the waist, as shown, spacing them about �½” apart. Tese are usually stitched over ¼” inside and are pressed down on the outside, olding towards the side-seams or the back.
Te style depicted here is one with a yoke, two “knie” pleats, and a hal belt. Again, the back pattern o the lounge may be used as a basis (its contour is indicated by the dot-dash line at centre). When cut out, the centre back parts o each o the sections o this design will be laid on the old o the material. Te upper section is cut exactly rom the lounge pattern. � rom � is �½”; square across to locate �. � is in the natural waist line; square to �. � rom � and � rom � are each �½”. � rom � and � rom � are each �”; connect � and �. (Tis line will all on the old o the material.) Now mark in rom the line �–� to the shaded portion, ½”. Te pleat is indicated by this portion; when it is olded over, the ½” just reerred to will be taken up by the thickness o the cloth. Te waist is cut along the line �–�; the lower section o the back may be cut whole, or may have a vent rom the hal belt illustrated. Te vent is the better eature. wo seams must be allowed on the middle section at �–�–�–� and at �–�–�–�—these are partly indicated by the shaded portions at �–� and �–�.
JACKE AND COA CUING BODY�COATS
HE term body-coat is used to describe a type o garment which fits the figure closely in the
waist section. Tere are many kinds o body-coat, though only two are in general wear at the present time—the Morning Coat and the Dress Coat, drafs o which will be given in this chapter.
At one time the most requently worn body-coat was the Frock Coat; this was, a little over fify years ago, the standard garment or business wear. No tailor’s cutter would have appeared in his cutting-room clad in any other style o coat. It might be said that the Frock Coat was, in those earlier days, what the lounge jacket is to-day—a garment or everyday wear. It was certainly a very “dressy” coat, and one which gave its wearer an air o importance. Nowadays, however, the Frock Coat is regarded as an article o clothing which is too severe or popular acceptation. Tese are “easier” times, perhaps, and the relative reedom o the lounge and reeer jackets has made them the standard garments or general wear. Very ew Frock Coats are seen in these days, and those are on the stage—or in the undertaker’s retinue! A kindred garment, however, is still worn: the Hunting Frock Coat. Tis orms part o the gay “livery o the chase,” as one writer has expressed it. For practical purposes, the Morning Coat may be taken as the basis or all body-coat styles. In some respects it is a Frock Coat with the tails cut away. Te latter had a “square” skirt section, whilst the ormer has the skirt sloping away rom the waist seam. A cutter who has a set o Morning Coat patterns will be able to adapt them or the cutting o other styles o body-coat. In the cutting o Morning Coats and Dress Coats, and particularly in the latter, there is much scope or the cutter to exercise his style sense. Tese garments lend themselves to artistic treatment, and i they are made up by a good tailor, their finished appearance is a pleasant reward to both cutter and maker-up. Te young cutter should use these body-coat drafs as a guide in the development o his own judgment and sense o “line.” He will find a number o runs and curves, the drafing o which will be helpul in giving him confidence in wielding the chalk, and which will provide him with ample practice as a draughtsman.
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GENLEMEN’S GARMENS
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THE MORNING COAT Diagram �� HIS garment has undergone many changes o style since its first appearance. Te modem version o it is, perhaps, the most graceul. It has a airly high ashion waist line and a long skirt, giving a very attractive and smart appearance.
In many ways, the system o construction resembles that o the lounge and kindred coats; only the style eatures differ—and these are part o the actual design o the garment. Te model illustrated here has the ollowing details: Button-one; pointed lapels; moderately square shoulders; ample across-chest. Tere is usually an outside breast-pocket, and there are pockets in the pleats. M�������:�� ½” natural waist ; ��” ull length ; � ¾” x-back ; ��½” elbow ; ��½” cuff ; ��” chest ; ��” waist; ��½” seat.
Chest Scale is ½ Chest—��”. Working Scale is ⅓ Chest plus �”—��”. I����������� ��� D������� Square rom o. � rom � is ½ working scale plus ¼”. � rom � is the natural waist length plus ¼”. � rom � is ¾” or the ashion waist. (Tis amount may be taken as a good standard or style. A more extreme style is sometimes adopted, in which the ashion waist is placed on the “natural” position; but this is not really satisactory.) � rom � is the ull length plus �”. � rom � is ½”. Connect � to � and square down to the bottom parallel with the line, �–�, thus establishing �. � rom � is �⁄� working scale plus ¼”. Square up ¾” rom � to �. � rom � is ¼ o the distance between � and �.
�� is midway between � and �. �� rom �� is the x-back plus one seam. (Te upper part o centre back is sewn in the mark.) Square across rom � and ��, as shown. By the line ��–�� square up and down to locate ��, ��, and ��. �� rom �� is ½”; �� rom �� is ¾”. From a point midway between � and � strike a guide line to is: then draw the back shoulder seam to �, as indicated. � rom �� is ⅝”: connect to ��. Tis location o � will bring the seam to the position o the dropped sleeve pitch, described in the article on sleeve cutting. Draw a line rom � to �, thus locating �. � rom � is about �½”; shape the blade seam rom � through � to ��, which is �” rom �. � rom � is ⅓ chest scale.
�� rom �� is �⁄�� working scale less ½”. �� rom �� is ¾”: make a “step” at ��, as shown. Shape the scye part o sidebody rom �� to a point ⅝” out rom �. �� rom �� is ¾”. �� rom � is ¼ chest scale. �� rom �� is �¼”. �� rom � is ½ chest measure plus �¾”. �� rom �� is �⁄� working scale plus ½”. Square up to ��, making the distance rom �� the same as �–� less ¼”. Draw a line rom �� to ��. On this line �� rom �� is the same as rom � to �� on the back, less ¼”. �� is ½” below ��. �� rom �� is �”; connect to ��. Shape the scye rom �� to ��, hollowing about ½”. and continue through �� to ��; make a “step” at ��, as shown, similar to that on the sidebody. Square down rom �� to ��. �� rom � is ½ waist measure plus �½”. �� is squared down rom ��. Measure the distance between �� and ��; take out just under hal o this amount rom �� to �� and a similar amount rom �� to ��. Shape the rear part o sidebody rom the point outside �, making a ¼” opening there, as indicated; continue through � and ��, down to ��—¼” below the ashion waist line. Shape the bottom o sidebody rom �� to a point ½” above the ashion waist line, slightly “sprung” out rom ��. Square down rom �� to ��, a distance o �”. to locate the seat position.
�� rom �� is �”; �� rom �� is ½”. Draw a line rom �� through �� to ��, which is ½” below the level o �. (Tis allows or the two seams taken when the skirt section is sewn at the waist.) Connect ��–��–�� by a slightly rounded line, as shown. �� is ½” out rom the centre line and ⅝” below the level o the ashion waist line. �� is ½” rom ��. �� rom �� is about ��”; connect ��–�� and ��–��. Tese lines orm a guide or the shaping o the skirt. �� rom ��, on a slanting line, is �”. Draw the ront skirt contour ��–��–�� . Te instructions given or the drafing o the skirt are based upon the style lines adopted by high-class tailoring houses. Tis part o the garment may, o course, be designed to meet the requirements o customers’ tastes; but the cutter should always suggest what he knows to be the most satisactory. �� rom �� is �⁄� working scale less ½”. Place one arm o the square at �� and move the angle back ¾” to �; make � rom � about �”.
� rom �� is �” or the collar-stand. �� is �” above �� and is �¼” in ront o the centre line. Shape and width o the lapel are largely matters o style and taste. In the present draf the width o the lapel at the position o � is �” rom the crease line, �–��. Te draf is now complete, with the exception o the arrangement o darts. Te one marked at � is suppressed about ½”; this amount will be right in relation to the suppression already made at ��–�� and ��–��. I preerred, a ½” dart can be taken out at � and a ront dart o ¼” taken at �, as indicated.
JACKE AND COA CUING
�� N���� O� T�� D����
Te whole business o waist suppression in body-coats is a matter or very careul observation and judgment on the part o the cutter. Back shape; the position and size o shoulder blades, the contour o seat—these have all to be considered when making calculations or the suppression.
DIAGRAM 27. I the latter is adopted, it should be provided or in the same way as described or the waistcoat draf. Tat is, the pattern will be cut along the line rom � and pleated over in the scye between �� and ��—as indicated by the dot-dash lines. It is sometimes an advantage to take out a small dart in the skirt section, just below ��–��. Tis should be about ½”. and should be located so that its seam runs into that o the sidebody and orepart. In addition, a thin ply o wadding may be placed at this part, attached inside to the waist seam.
When measuring, and when fitting, the cutter should take note o the figure, and should locate the points o waist suppression in accordance with his observations. Whatever variations may be made, the balance o the garment must receive attention. oo much taken out in the waist region will have the effect o shortening the ront and back lengths—particularly the latter. Te amounts taken out at ��–�� and ��–�� must be regulated in such a way as will produce the close-fitting character o the waist without interering with the general fit and balance o the garment. Te contour o the waist seam o the skirt should be slightly longer than that o the orepart and side-body combined—afer the side-body seam and the darts have been sewn. Some o this extra length will be taken away by the small dart below ��–��; i the dart is not used, a little more o the skirt can be eased in here. Te dart at � should be seamed in the marks. Location o point �� on the line squared down rom �� is, as will be realised, dependent upon the amount o suppression at the back and sidebody (��–��). Tis is quite effective in the case o a normal or standard figure, because the quantity taken out between �� and �� is about ¾”. (For any size, indeed, this suppression should never exceed �¼”.) Tere is a problem o distribution here when a prominent-seated figure is being dealt with. In such a case, it is a good plan to make �� rom �� an amount o �⁄�� hal seat less ½” ; then add the ½” to fix ��, as already described.
GENLEMEN’S GARMENS
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EVENING DRESS COAT
Diagram ��
HIS is another garment in which many changes in design have occurred during its long history. A ew years ago there was a trend towards certain style eatures that were not calculated to improve the appearance o Dress Coats. O these, the most noticeable was a shortening o the ronts to an extent which made the oreparts look small in relation to the other parts o the garment. With this sometimes went an extremely narrow skirt, cut very long, and a sleeve modelled on the lines o one or a lady’s jacket. Such exaggerations did not commend themselves to good-class houses or to well-dressed gentlemen. Tey were affected only by tailors and customers whose ideas o dress were rather theatrical. Te draf shown here has all the modern style requirements, though not one o them is over-stressed. Te ronts are relatively short; the skirt is long and tapered; and the lapel is moderate in width. It is usual or an outside breast pocket to be inserted, airly straight in line; there are pockets in the back pleats; the cuffs have three or our buttons. Te average width o the cuffs is ��” —this will depend upon the build o the customer and on his personal taste. As the basis o construction is exactly the same as that detailed or the Morning Coat, it will be necessary to describe only those eatures peculiar to the Dress Coat. Tese are connected with the ront section o the oreparts and the skirt.
M�������: �� ½” natural waist ; ��” ull length ; � ¾” x-back ; ��½” elbow ; ��” cuff ; ��” chest ; ��” waist “ ��½” seat.
Te Scales are exactly as beore. I����������� ��� D������� Square rom � and proceed as or the Morning Coat, except or the ollowing differences: Square down rom �� to ��—�”, or the seat position. �� rom �� and �� rom �� are each ½”. Tis is a slightly smaller amount o skirt “spring” than that o the Morning Coat, or the Dress Coat is worn unbuttoned. Draw a line rom �� through �� to establish ��, ½” below the level o �. Shape the back o skirt, ��–��–�� . � rom ��, on the centre line, is �½”. �� rom � is ¾”; draw the bottom o orepart in a straight line rom �� to the point below �� on the ashion waist line, but with a very slight curve rom about �½” beore it. �� rom �� is �”, and the point is � dropped ¼” below the bottom o orepart. Curve the top o skirt rom �� to ��, as shown.
�� rom �� is �”; draw a straight line rom �� to ��, as a guide or shaping the run o skirt. �� rom ��, on a slanting line, is �”. Mark the ront o skirt in a graceul run rom �� through �� to ��. Tis contour is straight or about �½” below ��; rom that part downwards it should continue in a alling line all the way to ��. �� rom �� is �⁄� working scale less ½”. � is the same distance rom �� as in the previous draf and is established in the same way. � rom � is �½”. �� rom �� is �¾” and is ¾” in ront o the centre line. Te line o the ront edge rom �� to �� should be absolutely straight. Width o lapel is again a matter o taste; the present example is about �¼” at its widest part just below �.
JACKE AND COA CUING
�� N���� O� ��� D����
Te observations made in connection with the Morning Coat will, with little variation, apply to the present draf. Te small dart may be taken out at the top o skirt below ��–��, and the two darts at � and � are usually employed. O these, the latter should run in line with the ront o the skirt, as indicated here. It can be located and shaped in the manner already described (see dot-dash lines). Again, the dart at � is sewn in the marks. Te arrangement or prominent seat described or the Morning Coat may be used in this draf, but the distance rom �� to �� should be �⁄�� hal seat less �”. C�������
Te treatment o the canvases in bodycoats is similar to that dealt with in relation to lounges and reeers—except, o course, that the canvases are shorter. Te effect o a relatively ull chest is generally asked or in body-coats—more particularly in the Dress Coat—and this is provided or in the construction o the draf; the canvases will, thereore, be shaped in accordance with the cut o the coat itsel.
DIAGRAM 28.
C������ XI
GENLEMEN’S GARMENS OVERCOA CUING By HE EDIOR
HERE are many styles o overcoats in wear at the present time, though their range may not be so extensive as that o jackets. In the ollowing section certain o the standard designs will be illustrated and instructions given or drafing. Te inusion o different effects, replacement o seams, position o buttons and pockets are things which can readily be done as occasion demands. Te sleeve system explained in the chapter on Jacket and Coat Cutting will apply to most o the garments depicted in this section—those with the standard shape o scye. Other types o armhole are dealt with, and the method o sleeve construction or these is given separately. Measurement or the length o the sleeve is usually taken over the customer’s jacket; thereore, at least ½” should be added to this length when cutting the overcoat sleeve. On very thick materials a little more than ½” addition is advisable. Te Chest Measure basis o construction will again be used, and the two scales will be applied. N���: In all the drafs shown throughout this section allowance is made or ¼” seams, except where otherwise stated. Additional seams (that is, nonstandard ones) will be specially noted. Certain overcoat materials are very thick, and others are o a nature which tends to make them ray easily. When such materials are being used, it may be better to allow or the taking o ⅜” or ½” seams. Tis can be done when drafing on the cloth—the necessary additions being made round the parts o the cut-out pattern.
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GENLEMEN’S GARMENS
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DOUBLE�BREASTED SEMI�FITTING OVERCOAT Diagram ��
HIS is, probably, the most widely worn
overgarment at the present time. It combines smartness o appearance with comort and general utility; these characteristics make it serviceable in a high degree.
Such an overcoat is usually made to button two, or button-two-show-three. It has side pockets with flaps (as shown on the diagram), flaps and jettings, or jettings only; and a welted outside breast pocket is customary. Sleeves have one to our buttons at the cuffs, most requently with sham holes; though some firms adopt real ones.
Te general style is easy at the chest, moderately close at the waist, and rather “snug” fitting in the seat region. Length will depend largely on the height o figures and on the individual preerences o customers. A length o ��” to ��” will be about right or a figure �’ �” in height.
the extra covering capacity required or the overgarment. Tus, i a figure measures ��” chest, ��” waist, and ��½” seat over waistcoat and trousers, these measures will be increased to ��” chest, ��” waist, and ��½” seat. Te scales will then be based on the larger measures.
When measuring or overcoats it is usual or cutters to take the chest and waist measures over the waistcoat and the seat measure over the trousers. At the time o cutting, these measures are increased two sizes—in order to provide
It will be noticed that the measures quoted are those o the three girths. Other dimensions, such as width o back, sleeve length, etc., are taken in the usual way over the lounge jacket.
M�������: ��½” natural waist ; ��½” ull length ; �¾” x-back ; ��” elbow, ; ��” to cuff ; ��” chest ; ��” waist ; ��½” seat. (Increase or the Overcoat—��” plus �” = ��”.) Chest Scale is ½ Increased Chest Measure—��”. Working Scale is ⅓ Increased Chest Measure plus �”—��¾”.
I����������� ��� D������� Square rom �. � rom � is ½ working scale; � rom � is ½” (Te ½” drop rom � to � is introduced to give that amount o extra back balance, an advantage in an overcoat.) � rom � is the natural waist length plus ½”. � rom � is �½” or the seat line. � rom � is the ull length plus ¾”. Square across rom �, �, �, and �. � rom � is ½”; draw the centre back seam by connecting �–�–�–�. � rom � is �⁄� working scale plus ¼”; square up ¾” rom � to � and shape the back neck rom � to �. � rom � is ¼ o the distance between � and �.
�� is midway between � and �. �� rom �� is the x-back measure plus ¾” extra width and an allowance or one seam. (Te back seam is seamed in the mark.) Square up and down rom ��, thus locating ��, ��, and ��. �� rom �� is ½”; �� rom �� is ¾”. Shape the back shoulder seam rom �� to �. �� rom � is ⅓ chest scale. �� rom �� is �⁄�� working scale. Mark out ½” rom �� and make a ¼” “step” beyond this, as shown at ��. Draw the back scye rom �� to the “step” at ��, keeping just outside the line, as indicated. (Tis is done to preserve a airly straight run o the seam at that part.) � rom �� is ¾”; square down to locate � and �.
�� rom � is ½”.
Shape the back side-seam rom the “step” at ��, ¼” clear o ��, through � and �� to �. Te last point is �” rom �. �� rom �� is ¼ chest scale. �� rom �� is �¾”. �� rom � is ½ chest measure plus �½”. �� rom �� is �⁄� working scale plus ¾”. Square up rom �� to ��, making this distance the same as that between � and � on the back plus ¼”. Draw a line rom �� to ��. On this line make the distance between �� and �� the same as that between � and �� on the back, less ⅜”; and drop point �� about ⅜” below the line, as shown. �� rom �� is ¾”; draw a line rom �� to �� and mark �� midway. Drop the chest line about ½” at the scye, as indicated by the dot-dash line below point ��. Shape the ront scye rom �� through �� and �� on to the dropped position and round to ��. Form a “step” at the top o orepart sideseam here, as on the back, but ¼” lower.
Place balance marks, as shown by the arrows. Te little extra length on the back is eased in to the orepart side-seam, as indicated by the wavy line at that part. Square down rom �� to locate ��, ��, ��, and ��—the centre line. Point �� is placed ½” below the line squared across rom �, thus lowering the waist line rom about �½” in ront o �. ��, and ��—the centre-line.
�� rom � is ½ waist measure plus �¾”. Measure the distance between �� and �� and mark ⅔ o this amount rom � to ��. �� rom �� is the difference between the ½ chest and ½ seat measures, plus ¼”. Shape the orepart side-seam rom the “step” at �� through �� and �� to �; the last point is �” rom � . �� rom �� is ½”; square down ��½” to ��. Te last point establishes the centre o the pocket, which is about �” in length. At a point about ¾” in ront o ��, shape the under-arm dart, making its direction almost parallel with the line ��–�� . ake out ½” at ��. �� rom �� is �” and marks the position o the ront dart; this is suppressed the same amount as the under-arm dart, but is sewn in the marks. �� rom �� is �¾”. Draw the ront edge parallel with the centre-line, ��–��–��–��. Shape the bottom edge round to �, on a very slight curve, as indicated. (Te dash line contour at bottom ront is or the right orepart.) Mark point �� by placing the angle o the square ⅝” back rom the line ��–�� and about �¾” down; shape the gorge on this slope to ��, as shown. �� is �” rom ��. � rom �� is �¼” or the collar-stand; draw the crease line rom � to ��.
OVERCOA CUING
�� should not be too ull (as was implied in the opening remarks here). Te distances stated will produce a reasonably close and stylish skirt, without detracting rom the striding room—an important actor. Te vent marked on the draf is about ��½” in length; this is average or a coat o these dimensions. It will be noticed that the run o the back seam rom � to � is slightly outward in tendency. Tis will allow a certain amount o “spring” or the vent, an essential eature. In the case o a figure with very prominent seat, the vent may be marked out beyond � in order to give a little extra” spring.” O course, in dealing with such a figure, the seat measure will be taken into consideration and the amount o orepart contour regulated at point ��. Te ront pitch is marked ¾” above the dropped scye line, almost level with point ��. Te back pitch is marked at about ¼” below ��. It will have been observed that, in the working o the system or the overcoat, point �� is slightly higher than its equivalent point �� in the Lounge Draf. Tereore, the back sleeve pitch just noted will be in correct position.
Shoulder construction shown here will allow or the insertion o a small pad (about ½” thick at its thickest part) or a similar thickness o wadding.
S�����-�������� S���� Quite a number o men preer the singlebreasted style o overcoat based on the lines used or the double-breasted model. Te system described above will be applicable, the only difference being the extension over the centre line or the ront edge. For the S.B. the distance between �� and �� should be �” to �½”, the edge being drafed accordingly. Such a coat may be finished with a fly, or may have the buttons showing through.
“D����” �� O�������� DIAGRAM 29. (It is broken, as in some other drafs, to allow or seaming out the ⅜” gorge dart.) Shape the lapel according to taste; the one illustrated measures �¼” across rom the crease line just below ��. Complete the draf, as indicated.
N���� �� ��� D���� Te location o � and � and the consequent amount o overlap between these two points may be decided by the cutter. In a general way, however, the skirt section o an overcoat o this type
Te semi-fitting overcoat, both double and single-breasted, lends itsel to the “draped” style o cut; and this is ofen adopted. Such a eature can be introduced in exactly the same way as that described or lounge jackets and reeers. Te amount o extra contour given at the top o back and orepart side-seams will be decided according to the customer’s taste and the nature o the material used.
GENLEMEN’S GARMENS
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SINGLE�BREASTED, LOOSE�HANGING OVERCOAT
Diagram ��
HIS style o garment is very suitable or making up in tweeds; it is ideal as a between-seasons overcoat. As will be seen, the side-seams are moved slightly orward, so that their top alls at the under part o the scye. Te sleeve, which may be constructed by the system already described, is cut a little wider and is sometimes finished with a gauntlet or three-quarter cuff. Pockets may be o the vertical type, shown here, or may be patch. Occasionally the ordinary flap style is adopted.
Actually, or cutting a garment o this taste; it should not be overdone, however, as too much in the skirt section is not a pleasing order the one scale is sufficient—that o the eature—even in a loose-hanging garment. hal chest. Height and depth dimensions Te assessment o the scales here will can be regulated according to the figure’s need a little thought. For instance, i the requirements. It is quite a good plan to customer selects a rather bulky material, it take the depth o scye and ront shoulder may be necessary to make greater addition measures (described in the chapter on to the over-waistcoat measures in order to measurements) as checks.
get a satisactory scale. Some cutters add as much as �”; thus, i the figure measured ��” chest, they would base their chest and working scales on ��” chest. Or, they might Needless to say, ease is an essential quality use a ��” pattern and make the size increase in an overcoat o this kind. Te amount o when drafing on the cloth. overlap at the bottom o side-seams (see �� and ��) will be decided by the customer’s
For the purposes o this draf ��” chest (over waistcoat) will be used as the basic measure, and the standard �” increase or overcoats will be made. When the figure is proportionate, it is not essential or the cutter to take waist and seat measures or a loose-hanging overcoat, or those parts are not fitted as they are in the closer style o garment.
M�������: ��¾” natural waist ; ��” ull length ; �¾” x-back ; ��” elbow ; ��” cuff ; ��” chest ; ��” waist ; ��½” seat. (Increase or the Overcoat—��” plus �” = ��”.) Chest Scale is ½ Increased Chest Measure—��”. Working Scale is ⅓ Increased Chest Measure plus �”—��¾”.
I����������� ��� D������� Square rom �. � rom � is ½ working scale. � rom � is ¼”. (Depth o scye measure, i taken, may be applied rom � to �, with the ¼” added.) � and � is the natural waist length plus ¼”. � rom � is the ull length plus ½”. Square out rom �, �, and �. � is midway between � and �; � is midway between � and �. � is ⅜” in rom �. (Tis slight deviation rom the straight line is an advantage in an overcoat o this kind: it helps the “hang” o the back.) � rom � is �⁄� working scale plus ¼”. Square up ¾” to � and shape the back neck to �.
Draw the centre back rom �, slightly rounding to just below �, down to � and �. Mark the vent as shown by the dash lines, springing out ½” at �. (Te length o the vent is ��”.) � rom � is the x-back plus ¾” o extra width and one seam. (Centre back seam is sewn in the mark.) Square up and down rom � to locate ��, ��, and ��. �� rom �� is ½”; �� rom �� is ¾”. Shape the back shoulder-seam rom �� to �, as indicated.
Join �� to �, with a very slight curve. �� rom � is ⅓ chest scale. �� rom �� is ¼ chest scale. �� rom �� is �¾”. �� rom � is ½ chest measure plus �½”. �� rom �� is �⁄� working scale plus ¾”. Square up rom �� to ��, making this distance the same as rom � to �, plus ¼”. Draw a line rom �� to ��. On this line mark �� rom �� the same amount as rom � to �� on the back, less ⅜”; and drop point �� ⅜” below the line. �� rom �� is ¾”; connect ��–��. On this line mark �� about midway between �� and ��. �� rom �� is �⁄�� working scale. Shape the scye rom �� to �� hollowing ½” at ��, on to the dropped scye line (see dotdash between �� and ��) and continue through �� up to �; the dropped scye is about ⅝” below the chest line. Square down rom �� to locate �� on the waist line. �� rom �� is �¼”; �� rom �� is �”. From a point ¼” in ront o �� draw the sideseam o back down through �� to ��. Te last point is ��½” rom �. Make a ¼” “step” at ��, and draw the orepart side-seam rom this through �� to ��. Te last point is �¾” rom ��.
�� is raised about ⅝” above the line squared out rom �; shape the bottom o back rom �� to �, as indicated. Point �� is raised a similar amount above the line rom �. Te lengths o the side-seams ��–�� and ��–�� must always be the same. It will be noticed that there is an overlap o the side-seams at the scye—¾” in extent. Square down rom �� to locate �� and ��, the centre line. �� rom �� is �”. �� rom �� is �¼”; square up �½” to ��. Draw the ront edge, ��–��–�� , parallel with the centre line, marking the last point level with ��. Draw the bottom edge o orepart rom �� through �� to ��, as indicated. �� rom �� is �⁄� working scale less ½”. Place the angle o square ¼” inside the vertical line at �� and strike a line or the gorge and lapel top, as shown. �� rom �� is �”; square out �¾” to ��. Tis will fix the crease line to ��, allowing or a collar-stand o �¼”. ake out a single seam gorge dart, as illustrated. Shape the lapel, as shown, making it �½” wide at the top.
OVERCOA CUING
�� by reducing the lef orepart about �¼” and increasing the right orepart the same amount. Tus, the distance between �� and �� on the lef orepart would be �” to �¼”; that between �� and �� on the right orepart would be �” to �½”. Te ront overlap given or the draf is the minimum that should should be allowed. In certain cases—particularly when thick cloths are being used—the ront edge may be made �” or �¼” beyond the centre line.
T�� S����� P������ Te ront pitch is located ¾” above the dropped scye line, almost level with point ��; the back pitch is ¾” below �. Te sleeve is constructed as already described, the slightly greater drop o the back pitch position being adjusted automatically in the system. It will be realised that as there is no under-arm dart seam taken out in the loose-hanging model, there will be a little extra material in the under-hal sleeve; this can be eased in at the under under scye. Te overlap at �� must also be calculated. Tese overcoats are ofen made up hallined. When this is the case, a little extra extra inlay should be lef down the orepart side-seams to allow or the taping which is usually adopted. Te subject o inlays will be treated ully in another part o this volume.
W����-���� S����
DIAGRAM 30. Square down rom �� to �, making the distance ��½”, thus fixing the centre o pocket position. Mark the welt about �” long and �” to �½” wide. Complete the draf.
N���� �� ��� D���� Most overcoats o this type are arranged or the buttons buttons to show through. When marking out the ront edge, allowance is made or the buttons to appear in a more or less less central central position. position. Tis is effected
Some customers preer this overcoat with a whole back. I such a style is required, the centre back-seam will run straight down rom � to �, this line alling on the old o the material. material. It is a good plan, in the making-up, to have the back scye drawn in a little—rom �� to about an inch above ��. A strip o linen ½” wide and held just tight on the cloth will effect this. (Tis adjustment may be applied to the seam-and-vent style with equal advantage.)
GENLEMEN’S GARMENS
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D.B. BELTED OVERCOA OVERCOAT, WITH SPLIT SLEEVE Diagram ��
HIS garment has taken the place o the general, with wide flaps; the cuffs may be older Ulster style; it is usually made plain, button-one, or gauntlet. Sometimes rom heavy materials, and is a first-rate they carry tabs and buttons. travel topcoat. In the present draf two styles o belt are It is cut on bold, easy lines, with wide illustrated. Te first is the hal belt, which lapels and collar. Te latter is sometimes goes across the back at the waist; the second made on the two-way principle, which is the all-round belt, which astens in ront enables the wearer to button the coat close with a buckle. Te width o either either o these at the neck. Patch pockets are the most belts should be about �¼” when finished.
Te draf will be based on the assumption that a thick cloth is being used; the scales will, thereore, be increased to the larger amount described previously—that is, �” greater than the circumerence measures taken over waistcoat.
M�������: ��” natural waist; ��½” ull length ; �¾” x-back ; ��” elbow ; ��” cuff ; ��” chest ; ��” waist ; ��½” seat ; ��” overarm (taken rom neck, over shoulder, shoulder, down centre o sleeve to cuff). (Increase or the Overcoat—��” plus �” = ��”.)
Chest Scale is ½ Increased Chest Measure—��”. Working Scale is ⅓ Increased Chest Measure Measure plus �”—��⅜”. I����������� ��� D������� Square rom �. � rom � is ½ working scale. � rom � is ½”. � rom � is the natural waist length plus ⅜”. � rom � is �½” or the seat line. � rom � is the ull length plus ½”. Square out rom �, �, �, and �. � rom � is �⁄� working scale plus ¼”. Square up ¾” to � and shape the back neck rom � to �. � rom � is ¼ o the distance between � and �. � rom � is the x-back plus ¾” and one seam. Te back seam, i the coat is arranged with seam and vent, is sewn in the mark. I the back is designed whole (as shown in this draf) the line �–�–� alls on the old o the cloth, when the garment is being cut. Square up rom � to locate ��. �� rom �� is �”; �� rom �� is �”. Draw the back shoulder-seam rom �� to �, using guide line, as shown. �� rom � is ⅓ chest scale. �� rom �� is ¼ chest scale. �� rom �� is �¾”. �� rom � is ½ chest measure plus �½”. �� rom �� is �⁄� working scale plus ¾”. Square up rom �� to ��, making this distance the same as rom � to � on the back, b ack, plus ¼”. ¼”. Draw a line rom �� to ��. On this line �� rom �� is the same as rom � to �� on the back, less ⅜”. Point �� is dropped �” below the line, because
the back shoulder has been raised slightly more than in the previous draf (see rom
�� to ��). Tis arrangement will place the shoulder-seam on top o the shoulder so that it will run in line with the centre seam o the split sleeve. �� rom �� is ¾”; connect; ��–��. Drop the scye ⅝” between � and ��, as indicated by the dot-dash line. Mark �� at midway between �� and ��. Shape the ront scye rom �� to ��, hollowing ½” at ��, continue to the dropped scye line at ��, which is about �¼” in ront o ��. �� rom � is ½”; �� rom �� is ¾”. Make a ¼” “step” at �� and shape the back scye rom ��. Square down rom �� to locate � and ��. Square down rom �� to locate �� and ��. Arrange the waist size as ollows: � is ½” rom � on the back. Apply ½ the waist measure plus �” rom � to � on the orepart. Te amount shown between �� and � is overlapped at the side-seams rom �� to ��, with ¼” added. �� rom �� is ½”: �� rom �� is the difference between the ½ chest and ½ seat measures, plus �” to �½”. Now draw the side-seam o the back rom the “step” at ��, through �� and ��, down to �. Te last point is ��½” rom rom � and is ½” above the line. Draw the side-seam o the orepart rom a similar “step” at ��, through �� and ��, down to �. Te last point is �” rom � and is ½” above the line. Te contour o the scye can now be completed by continuing rom �� to the “step” at ��, as indicated.
�� rom �� is �”. �� rom �� and �� rom �� are each �”. Draw the ront edge parallel with the centre line, as shown, and complete the bottom edge rom � to � on the back and rom �� to � on the orepart. Te dash line between �� and �� is the contour o the right orepart. orepart. �� rom �� is �⁄� working scale less ¼” and is ⅜” behind the line. Use the square as described beore and shape the gorge to �, which is on the crease line. Te crease line is fixed by dropping to a point �” below �� and squaring out to � a distance o �”. Mark the gorge dart at �¼” in ront o � and take out ½”; now run the crease line down to ��, as indicated. Te width o the lapel at the top is about �”; it slopes up slightly rom the gorge dart. Collar-stand will be �⅜”. Mark the pleat in the back at about �” rom �. Tis pleat, one o which appears in each ½ back, is about �½” deep and is finished in the “knie” style, olding towards the side-seam. It is tacked down down under the belt—but not on the on the belt. I the hal-belt is adopted it is made the requisite length to go over the pleats rom side-seam to side-seam. I the all-round belt is preerred, two loops are placed on the side-seams or it to pass through. It is extended at the ront to allow or astening in the buckle, with an overplus o about �” to pass through a sliding loop on the belt itsel.
OVERCOA CUING
�� T�� S�����
DIAGRAM 31. An under-arm dart may be taken out, as shown by the dash lines, running down rom �� to the pocket. An alternative position or this dart is suggested by the dot-dash line rom just in ront o is to a point at at the centre o pocket flap. Tis is adopted when a ull effect is wanted at the ront o scye. Te pocket is placed ��” to �” in rom the side-seam; the top o the flap is about ��½” down rom ��. N���: Te amount o overlap represented between � and � is, again, a matter o taste. Similarly the suppression at waist may be increased when a closer-fitting style is asked or. Some cutters indent the back-seam (when this is inserted rom � to �, and “spring” out a little or the vent at �. I such a style is adopted, adopted, the side-seams need not overlap at �. Further, i a airly loose hang is required (afer the style o the S.B. loose-hanging overcoat), overcoat), the waist may be lef or gathering under the belt, no dart being taken out at at the under-arm position. Some customers may ask or this type o overcoat overcoat to be made quite loose, without belt or pleats. Te same plan o construction may be used, bat the side-seam will be cut straight rom �� to � and �.
Beore drafing the sleeve, mark the pitch positions on the coat. Te ront pitch is ¾” above the dropped scye line; the back pitch, or the standard sleeve, is marked at �½” rom ��. Te “style” pitch or this type o overcoat is marked at �—�½” below �. Square lines rom �. � rom � is the same as � rom �� on the coat, less �”. � rom � is the same as � rom �; or as rom � to the dropped scye base, less �”. �”. � rom �, diagonally, is the same as the combined distances rom � to �� on the back and rom �� to the ront pitch. Shape the crown o sleeve in the usual way first , extending rom � to � the same amount as that between � and the lowered pitch at �. Locate � by squared lines rom � and �. � rom � is ½”. Connect � with �, and on this line square down rom � to �. Point � is established by sweeping the ordinary sleeve measure or the over-sleeve measure, in the manner explained in the chapter on sleeve cutting. � is �½” below �; square rom � to �. � rom � is ⅓ working scale plus �½”. �� is midway between � and �. �� rom �� is �”; shape the orearm rom � through �� to �. �� rom �� is ⅓ working scale plus �½”. Shape the hindarm rom � through �� to �, making a graceul curve, as indicated. (Te dimensions given here or the width o sleeve at elbow and cuff must not be taken as unalterable. Tese widths are matter o taste; they may be varied to suit individual preerences.) Te outline o a standard top-sleeve has now been completed; or the split sleeve, proceed as ollows: Measure the scye rom the ront pitch to ��; add ¾” to this amount and apply it rom � to �� on the sleeve. Measure the scye rom � to ��; add ¾” to this amount and apply it rom � to �� on the sleeve �� is midway between �� and ��; �� is midway between � and �. Allow one seam on each side o these points and shape the two sections secti ons o the split sleeve, as shown. Te ront section runs rom �� and the rear section rom ��; the contours must be the same. For the under-sleeve, mark �� at ¾” rom �; mark �� and �� the same amount rom �� and �, respectively. Shape the orearm o the under-sleeve through these points, as shown. Draw a short line rom �, parallel with the line �–�. �� is located on this line, fixed by measuring under the scye rom ront pitch to � and applying the amount registered. �� rom �� is �⁄� working scale plus ¾”; shape the scye part o undersleeve rom �� through �� to ��. Make a seam “step” at both �� and ��, as indicated. Mark the hindarm o the under-sleeve rom ��, just clear o �, and ½” in rom �� down to �. Complete the draf.
GENLEMEN’S GARMENS
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S.B. RAGLAN OVERCOAT
Diagram ��
HE Raglan style o overcoat overcoat is very similar to that o the loose-hanging garment already described. Te main difference in the Raglan is that the sleeve becomes part o the shoulder o the coat.
Tere are many ways o constructing Raglan sleeves; o these the t he best method, probably, probably, is that o transerring rom the coat those parts which are to become the sections o the sleeve fitted into the shoulders. Te draf shown here is based on the transer transer method. Accurate Accurate construction o the shoulder sections, in very much the same way as that described or the loose-hanging overcoat overcoat illustrated by Diagram ��, is essential. essential. It must must be remembered that the parts o the shoulders cut away will become the upper portions o the sleeve; thereore, any deect in the shoulder construction will be transerred transerred to the sleeve. Rectification o ill-fitting ill-fitting Raglans is one o the most trying tr ying and difficult undertakings in a cutter’s cutter’s work. Extra care at the time o pattern cutting will ensure that accuracy so vital in the production o this type o garment. Te style o garment depicted is one o moderately loose hang; the ronts may be made to finish with a fly or with buttons showing through. M�������: ��½” natural waist ; ��½” ull length ; �¾” x-back ; ��” chest ; ��½” over-sleeve. (Increase or the Overcoat = ��” plus �”—��”.)
Chest Scale is ½ Increased Chest Measure—��”. Measure—��”. Working Scale is ⅓ Increased Chest Measure—��¾”. I����������� ��� D������� Square rom �. � rom � is ½ working scale. � rom � is ¼”. � rom � is the waist length plus ¼”. � rom � is the ull length plus ½”. � rom � is ¼ o the distance between � and �.
Square out rom �, �, �, and �. � rom � is ⅜”; � rom � is �⁄� working scale plus ¼”. � rom � is ¾”. Shape the back seam rom �, curving to just below �, through � and � to �. Shape the back neck rom � to �. � rom � is the x-back measure plus ¾” and one seam. (Te centre back seam is sewn in the mark.) Square up rom � to locate � and ��. �� rom � is ¾”; �� rom �� is the same. Shape the standard st andard shoulder-seam rom �� to �.
�� rom � is ⅓ chest scale. �� rom �� is ¼ chest scale. �� rom �� is �¾”. �� rom � is ½ chest measure plus �½”. �� rom �� is �⁄� working scale plus ¾”. Square up rom �� to ��, making this distance the same as rom � to � on the back, plus ¼” ¼ ”. Draw a line rom �� to �.
Measure the distance rom � to �� on the back and make �� rom �� the same. (Te customary deduction o ¼” or ⅜” is not made or the Raglan.) Point �� is dropped ¾” below the line as indicated. � rom �� is ½”. Shape the scye in the usual way rom ��, curving to a point ( �) ½” up on a slanting line rom ��, as shown. Drop the base o the scye ⅝”; curve the remainder o the ront scye rom � to the dropped line and on to ��, which is �⁄�� working scale rom �. Square down rom �� to ��. �� rom �� is �¼”; �� rom �� is �”. Make a ¼” “step” at ��, and draw the back side-seam rom this through �� to ��, which is ��” rom � and ½” above the line. Make a similar “step” the other side o �� and draw the orepart side-seam rom this through �� to ��, which is �” rom �� and ½” above the line. Square down rom �� to locate ��� and �� or the centre line. �� rom �� is �¼”. �� rom �� and �� rom �� are each �”. Curve the bottom edge o orepart rom �� to ��, as indicated.
�� rom �� is �⁄� working scale less ½” behind the line; apply the square at ��, in the manner beore described, and strike the top o lapel. �� is �¼” in ront o the centre line and is about �¼” below ��. Shape the gorge rom �� to lapel top. Mark the collar, stand at � and draw the crease line rom � to ��; this line is broken at the gorge cut, which is a single seam. � rom �, which marks the standard back pitch, is �½”. � rom � is �½” or the lowered pitch. Complete the shaping o the back scye by curving rom ��, through � and �, to ��. P���������� P���������� ��� ��� R����� D����� On the back neck mark � at ¾” rom � and run rom � in a slight curve to �, as indicated. indicated.
Mark back ½” rom � to �. Mark down ¾” rom �� to �, at the orepart neck, and run a line rom � to �—curving very slightly, slightly, as shown. shown. Te shaded sections o the shoulder represent the parts which are to be transerred to the sleeve. Te pattern will be cut along �–��. �� to �, and rom � to �. Also rom �� to �� round to �, rom � to �� and up to �, finishing rom � to ��, as indicated.
OVERCOA CUING
��
T�� S�����
Square lines rom �. � rom � is �¼” less than the distance between � and � on the back. � rom � is the same as rom � to � plus ¼”. Now take the section cut away rom the orepart shoulder and place it on the sleeve draf so that point � comes ½” inside �, as shown at �; at the same time allow point �� to all on the line squared rom �, as seen at �.
Points �� and � are thereby located. � rom �, on the line rom �, is �¼”. Now take the back-shaded section and place it so that �� alls on point �, and � (not � ) alls on the line squared rom � at the position o �; this will establish points � and �.
DIAGRAM 32.
Continue the run o the contour �–� down to �, making the distance between � and � the same as rom � to � on the back. Te small triangular part o the shaded portion (�–�–�) is represented as having been cut away, so that the contour o �–� on the sleeve may be seen more clearly. Tis should always be a gradual curve. Square down rom � to locate � on the line squared rom �. �� rom � is ¾”; connect �� with � and on this line square down to ��. Te over-arm sleeve measure is usually taken, and is applied rom �� to � sweeping orward to ��. �� rom �� is �¾”; square out to ��. �� rom �� is ⅓ working scale plus �¾”. �� is midway between � and ��. �� rom �� is �”; shape the orearm contour rom � to ��, coming in at point �� (see dot-dash line). �� rom �� is ⅓ working scale plus �¼”. Draw the hindarm rom � through �� to ��. �� is midway between �� and ��. �� is midway between �� and ��. Mark out ½” rom � and rom this point curve gradually to �, as indicated. Add ½” at � and �, and continue through �� and ¼” inside �� and ��. Tis completes the rear section o the topsleeve. o complete the ront section continue rom �½” clear o �� and ¼” clear o �� and ��, as indicated. For the under-sleeve, proceed as ollows: Draw a line rom � parallel with the line �–�. Measure round the under-scye o coat rom � to �, including the overlap at ��, and apply this amount rom �� to ��—in a straight line ( �� is �” rom �). �� rom �� is �⁄� working scale plus �”. Curve the top o under-hal rom ��, ⅜” above ��, to ��, as shown. Shape hindarm rom �� to �� and ��—⅝” in rom �� and ��. False orearm o ½” is added on the ront part o top-sleeve, a similar amount being taken off the under-hal.
GENLEMEN’S GARMENS
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D.B. SLIP�ON RAGLAN, WITH TWO�PIECE SLEEVE Diagram ��
HIS type o Raglan is cut on lines rather more ample than those o the previous draf, or the character o the overcoat must be, as its name implies, quite ull and easy. Te ronts are double-breasted.
arranged in the orm o extensions on the Patch pockets, or vertical, are the most two sections composing the top-hal. Te so- generally adopted types or this garment. Te called deep scye is a eature o this garment. cuffs are made plain, with gauntlets, or with tabs.
Te amount the scye is dropped below the chest line is largely a matter o taste, and Its basic construction is similar to that may be regulated according to the purpose described or the three-piece sleeve style; o the coat. Te sleeve system shown is the exception being that the under-sleeve is adaptable to any changes made at this part.
Increase o the chest measure taken over the waistcoat will be decided by the material being used; but as the general size o the coat is made larger, in the planning o the draf the �” addition will be quite satisactory-unless the cloth being cut is very thick and heavy.
M�������: ��½” natural waist ; ��½ ull length ; �¾” x-back ; ��” over-sleeve ; ��” chest.
(Increase or the Overcoat = ��” plus �”—��”.) Chest Scale and Working Scale as in the previous draf. I����������� ��� D������� Square rom �. � rom � is ½ working scale. � rom � is ¼”. � rom � is the waist length plus ¼”. Continue or the ull length in the usual way (only the upper section o the main draf is shown, as that is the part which affects the sleeve construction. � rom � is ¼ o � to �. Square out rom �, �, and �. � rom � is ⅜”; shape the top o back-seam rom � to just below �, and continue down to the ull length, adding ½”. � rom � is �⁄� working scale plus ¼”; square up ¾” to � and curve the back neck rom � to �. � rom � is ⅓ o chest scale.
Now draf the back side-seam rom � through ��, and the orepart sideseam rom � through ��, continuing to the required length at bottom. Shape the run o the ront scye rom the standard position �� down to �� and continue to �. Shape the run o the back scye rom the standard position at �� down to �. Square down rom �� to �� and continue down to the bottom, thus establishing the centre line. �� rom �� is �” or the double-breasted overlap. (I a S.B. ront is desired, make this distance the same as in the previous draf—Diagram ��.) �� rom �� is �⁄� working scale less ¼” and is ⅜” inside the line. Use the square in the manner already described, with the angle on ��, and draw a line to ��. � rom � is the x-back measure plus ¾” and one seam. �� rom �� is about �½”; shape the lapel according (Te centre back-seam is sewn in the mark.) to taste. Square up rom � to locate � and ��. P���������� ��� ��� S����� �� rom � and �� rom �� are each ¾”. Shape the standard shoulder-seam rom �� to �. � rom � is ½ the distance between � and � less �”. �� rom � is ¼ chest scale plus �¾”. � rom � is ¾”; � rom �� is ¾”. �� rom � is ½ chest measure plus �½”. Draw the back contour rom � through �, about �” back rom �, to �; draw the ront contour �� rom �� is �⁄� working scale plus ½”. rom � just clear o �� to �, as indicated. Square up rom �� to ��, making the distance the Now mark � at ½” up rom �� on a slanting line. same as rom � to � on the back, plus ¼”. As beore, the shaded portions will be transerred Draw a line rom �� to �. to the sleeve draf. �� rom �� is the same as rom � to �� on the back (no deduction is made); drop point �� about ¾” below the line. �� is ½” above ��. �� is midway between � and �� on the chest line. Square down rom �� to ��. � and � are each ⅜” rom ��. �� and �� are each �¼” rom ��. Draw guide lines rom � to �� and rom � to ��. For the slip-on style the scye is lowered �” rom � to � and rom � to �.
T�� S����� Tis should be drafed on a piece o paper sufficiently wide to allow o its being olded beyond the lines �–� and �–�� (see the sleeve draf on Diagram ��). Reerence to this olding will be made o the course o the instructions or drafing. Square lines rom �. � rom � is the same as rom � to � less �¼”. � rom � is the same as � to � less ¼”.
Now take the section cut away rom the orepart shoulder and place � at point �, which is ½” rom �, allowing point �� o the shoulder to all at � on the line squared rom �. � rom � is �¼”. ake the back section cut away, and place it on the sleeve draf so that point �� alls on point �, and allow � to all at � on the line squared rom �. Not only in the actual shoulder sections should care be taken (as was pointed out in the details concerning the three-piece sleeve—Diagram ��), but in the adjusting o the transerred pieces to the sleeve construction. Te pieces must be placed accurately on the construction lines, as indicated. Mark out � seams beyond the shaded portions at � and �, as indicated. (Comparison o the shaded section o the back o the coat draf with that o the rear hal sleeve will reveal a difference. Te extension o the shaded part below � on the latter is greater than that below � on the ormer. Tis has been done to draw attention to the contour �–� on the sleeve; this should not be too hollow. Te run rom � should be almost straight, the curve beginning at about �½” above �, the section o the sleeve which passes towards the under-scye when sewn in. Tis arrangement will allow the shaded portion, rom � downwards, to old over nicely when the sleeve is sewn in.)
� rom � is ¾”; square across to �. Drop ¾” below � to � and connect with �. On this line square down rom � to locate � and ��, the ormer being ound by application o the over-sleeve measure, swept in the usual way. �� rom � is �½”; square out rom �� to ��. �� rom � is ⅓ working scale plus �½”. �� rom �� is �”; draw line rom �� to connect with that squared down rom �. �� rom �� is �”; connect �� rom �� with a slightly rounded line. �� rom � is ½”.
OVERCOA CUING
DIAGRAM 33.
�� Measure the orepart scye rom � to � and apply this amount rom �� to ��. Now measure round the scye rom � to �, and apply this rom � to ��, adding ½” or ullness. (Te joining contours � to �� and �� to is need not ollow rigidly any special line, as they will be checked when the pattern is opened out.) �� is midway between � and ��; draw lines rom �� to �� and �� to ��. (Tese are shown by dotted lines or clearness.) �� is hal-way across top-sleeve between �� and the line squared down rom �, and is ½” below level o ��. Draw the contour o the ront section o topsleeve rom � (¾” on a slant rom �) through �, ⅝” outside �� and ¼” outside �� and ��. Draw the contour o the rear section rom the point ½” in ront o � parallel with the shaded portion to �, through �� and ¼” the other side o �� and ��. Fold the pattern paper on the line � to �, and trace out on the olded section underneath the lines �� to ��, �� to ��, and �� to �. When the paper is opened out the line �–� is established. Now old the pattern paper on line � to �� and trace out on the paper underneath the contours �� to ��, �� to ��, �� to ��, and �� to �, part o which is shown by dotted line. When the paper is opened out the lines �–� and �–� will be established. Complete the ront contour by drawing rom the point ½” in ront o � down to �, on a slightly curved line; and complete the back contour by drawing a line rom � (¾” on a slant rom �) through �, which is the same distance rom � as � is rom � on the back, down to �. Tis will establish the contour already mentioned. Complete the draf by marking a curved line rom � to ��, to match that rom �� to ��. Tis arrangement makes a dart or the provision o “elbow room,” an essential eature in a sleeve o this kind, which has no hindarm seam. When the sleeve is being cut rom the cloth, allowance should be made or the seam at this section.
N���� �� ��� R����� S���� As has been implied, the style eatures o Raglan overcoats, whether two-piece or three-piece, are dependent to a very large extent on the customer. astes differ in a marked degree, and it is essential or the cutter to make quite sure what type o garment the customer expects to get. Some gentlemen ask or a ull, loose, easy cut; but when they see the resultant garment (though it may be a aithul interpretation o ideas conveyed to the cutter) they say that the coat is “much too large.”
It may not be too much to say that part o the scye contours. Tis should very ew customers really know what a be put on in the manner described or Raglan should look like. Tey give vague the standard loose-hanging overcoat— instructions to their tailors, which very just slightly tight on the cloth. Such an ofen cause the latter a great deal o trouble. arrangement will allow the sleeve sections It is here that the cutter can act as guide, to be eased in a little, which is a helpul giving the customer a pretty clear picture eature. Tis can also be done by making o what the garment will be when it is the contours o those sections about ½” finished. Such guidance, beore the shears or ¾” longer than the measured amounts are put into the cloth, may save both cutter taken rom the coat draf. Tat is, add ½” and customer much disappointment. to �–� and �-� (Diagram ��) and to �–� and Making-up.—It is a good plan to have a �–� (Diagram ��). piece o linen, about ½” wide, attached to both orepart and back along the greater
GENLEMEN’S GARMENS
��
AN ALTERNATIVE FRONT AND COLLAR SINGLE�BREASTED STYLE Diagram ��
M
ANY Slip-on Raglans are made to button up to the neck and to finish with a small stand-andall collar, similar to the Prussian style. Tis diagram depicts the cutting o the upper part o the coat and the collar just indicated. I����������� ��� D������� S������ A
S������ B
Tis shows the upper part o the garment, based on the same construction as that o the previous draf. Te only difference is in the shape o ront and neck. o fix the collar size measure rom � to � on the back neck: apply this amount at �, on the orepart, and continue to ��, which is the extended centre line—about ¾” rom the straight. A small dart may be located at ��, as indicated; or the orepart shoulder may be “straightened” a little. � rom �� is �” or the lef orepart. � rom � is �¼” or the right orepart. Te ront and back upper sleeve sections are shown in position, overlapped one seam.
Square rom �. � rom � is the same as the combined distances o �–� and �–�� on Section A, which include the overlapped sleeve sections. � rom � is �”. � rom � and � rom � are each ¾”. � rom � is �½”, the height o the back part o the collar-stand. Square out �” rom � to �. � rom � is about �¼” (this amount may be varied to suit individual taste).
Now connect the various points, as shown, making gradual curves rom � to �, � to �, and � to �. At the last point make a small round and join to �. Complete the collar draf. N���: In some materials it is advisable to add a little “spring” at stand and all (at positions o � and �) and to seam the outer collar in two sections. Te dash line at �–�–� indicates this “spring” and shows allowance or seam.
DIAGRAM 34. V��������� �� S��� P�������� Attention is drawn to the position o point � on Section A, Other variations can be effected quite easily and the sleeve, by Diagram ��—it is lower than the similar point on Diagram ��. adopting the transer method in drafing, will be automatically adjusted. Tis shows a variation in the seam placement, which is sometimes adopted. Whatever changes are made on the body o the overcoat will be automatically transerred to the sleeve draf. In this case, or instance, the ront portion cut away will be relatively larger than the back portion. Te effect is to give a wider appearance to the sleeve section in ront and a more orward placement o the seam.
OVERCOA CUING
��
GENTLEMEN’S GARMENTS ADDITIONAL BACK “SWING” IN LOOSE�HANGING OVERCOATS
Diagram �� Te reerences made to the overlap o back and orepart sideseams at the bottom o loosehanging overcoats included certain dimensions connected with those parts o the garment. In the working o the system a airly standard amount o overlap is provided, and or slight increases in the skirt contour addition can be made at the bottom o the side-seam, in the manner described. Tere are occasions, however, when the extent o the extra overlap required makes it necessary to treat the pattern quite differently. Te
mere adding on at the bottom o the side-seams will not produce the desired effect. Some customers like their loose, or sac, overcoats to drape rom the back scye and to hang well away rom the figure at the sides. When such a style eature is asked or, the pattern should be manipulated in such a way as will ensure that the extra material is put in the right place and that the “hang” o the coat will be permanent. Addition at the side-seams will not produce this, or the extra cloth put there will remain at the sides and will all on to the figure in a ar rom pleasing way.
“S�������” ��� P������
Tis diagram shows a standard loose-hanging overcoat pattern, on which are placed the points essential to the manipulation or a larger skirt contour. Te back-seam is drafed in the usual way, rom � to �, and the vent marked. Neck and shoulder are drafed round the pattern, as rom � to � and rom � to �. Te back scye is drafed rom � down to the sleeve pitch mark at �. So ar, the marking out round the pattern on the cloth has been exactly as or a normally ull overcoat. Te additional “swing” is provided as ollows: Draw a straight line rom � to �. Mark � rom � the amount o extra width required (in this case it is �½”). Now draw a line rom � to �, making a mark on the cloth at �. With a finger on the pattern at �, swing the pattern orward so that the line �–� alls on the line �–�. Ten mark round the new contour rom � through � down to �; and mark the bottom edge rom � to �.
It will be seen that the pattern has had a “wedge” o extra material inserted in the part bounded by �, �, and �. Te entire movement is made clear by the two side-seam outlines on the diagram. Te dash lines indicate the pattern beore the manipulation; the solid lines show the result o it. Te back o a Raglan overcoat may be treated in very much the same manner.
DIAGRAM 35.
GENLEMEN’S GARMENS
���
TWO�WAY STYLE OVERCOAT COLLAR
Diagram ��
A
VERY popular style o collar at the present time, and one which is particularly suitable to the doublebreasted, split-sleeve type o oven;oat, is the two-way or convertible collar. It may be worn turned down in the usual way, running with the lapel o the coat, or it may be worn somewhat in the style o the Prussian collar, astening close and high at the neck.
When this type o collar is adopted, the seam o the gorge dart should not be more than �” in ront o the lapel crease line. Most cutters make the distance ¾”, finding this the right amount or ensuring a pleasing effect when the collar is turned high.
I����������� ��� D������� S������ A � is the orepart neck point. � rom � is the depth o collar-stand (in this case. �⅜”). Draw the extended crease line, �–�–�, through �. Strike a line rom �, through a point ¼” inside �, to �. � rom � is the back neck width. With � as pivot, sweep rom � to � and �. � rom � is the width o collar-stand; � rom � is the width o all— �¼”. Locate �, just in ront o the closed gorge dart, and measure orward along the lapel top to the desired width o ront collar, as at � (�” in this case). Draw a line rom � through � to locate �. � rom � is �”. Connect �–�–�, as indicated. Curve the stand rom � through � to �. Notice the overlap at the edge, �–�; the lapel is indicated by the dash-line contour. Complete the draf by rounding slightly at point �, as shown.
DIAGRAM 36.
C������ XII
GENLEMEN’S GARMENS CUING FOR CORPULEN FIGURES By HE EDIOR
HE term corpulent is generally applied to a figure in which the waist measure exceeds that o the chest. Tis definition, though useul as a means o classiying a particular type, has to be extended in order to include the large variety o that type. Tere are many kinds o corpulence—or, better, there are many degrees o it. At one time cutters, when discussing the subject, thought o a corpulent figure as one with a waist measure exceeding the chest measure by anything rom �” to �”, and with a seat measure smaller than the waist—and, in some cases, smaller than the chest. Such a figure would have been described as a true corpulent type. However, there have always been large figures where waist has exceeded chest but where seat has been greater than either. Again, there have been wide differences in the location o development. Te waist girth may have been generally large, or it may have shown an increment extending across the ront only; the seat may have measured as much as the waist, or more, and yet have been relatively flat. In act, there have been many deviations in girth contour and size— so many, indeed, that it would be impossible to give a really comprehensive list o them in a work o this kind. As has been written in another place, careul observation and trained judgment must always be brought into play when the tape-measure is being used by the cutter. Actual measurement o every possible orm o corpulence is an extremely difficult matter. Te tape can do much, but it must always be guided by the eye and the mind. Te drafs which ollow will be based upon measurements chosen with the object o providing a reliable basis o working. Te waist measure will be somewhat exaggerated, so that the working o the
system or this type o figure will be shown to the best advantage. In providing or the increment at waist, the method will be to add a certain amount at that part where most development usually takes place—that is, the ront part o the waist. Te remaining amount o necessary contour will be distributed at the side and the back by applying the waist measure very much in the manner described in the normal drafs. Tis arrangement will be satisactory or the majority o corpulent figures; it will be understood that other figure deviations which may accompany the corpulence (such as flat seat, head orward, round back, etc.) will require appropriate adjustment o the pattern. D������������ Te normal, or standard, figure is generally considered to be one in which the waist measure is rom �” to �” smaller than the chest. In dealing with the corpulent figure �” will be taken as the basic amount, and will be applied in the ollowing ormula: Chest measure taken—��”. Standard waist—��”. Waist measure taken—��”. Difference between the standard and actual waist—�”. Tis �” is the amount o so-called disproportion; it will be applied to the draf in the appropriate sections. Te assessment o the disproportion given here applies to all waistcoats, coats, and overcoats; it also applies to body-coats. Te application o the measures and the distribution o the contour capacity in the garments will be explained in the course o drafing instructions. Disproportion in the case o trousers is calculated by comparison o the waist and seat measures. Tis will be ully described in the section immediately ollowing.
���
GENLEMEN’S GARMENS
���
TROUSERS FOR THE CORPULENT FIGURE
Diagram ��
B
EFORE cutting trousers or this type o figure, it is necessary or the cutter to be quite sure o the distribution o waist increment. All corpulent figures, as has been stated, are not the same shape. In some the increase is all at the ront waist; in others it is more evenly distributed rom ront to sides. Observation o the figure at the time o measuring is o the greatest help; but some cutters do not see their customers, and have to work rom measures taken by other people. It is, thereore, essential to have a standard method. It has been accepted pretty generally by cutters that �” is the normal discrepancy between the waist and seat measures, the ormer, o course, being the smaller. Below is the trousers ormula or calculating the disproportion in the corpulent figure: Deduct �” rom the seat measure and compare the result with the waist measure taken. In the present draf the seat measure is ��”; a deduction o �” rom this will give ��” (the normal waist). Te actual waist is ��” ; thereore, there is �” disproportion. Tis will be used in the draf. M�������: ��½” side ; ��” leg ; ��” waist ; ��” seat ; ��½” knee ; ��” bottom. Scale is ½ Seat—��½”.
I����������� ��� D������� T������
Draw construction-line �–�. � rom � is the leg-length plus ¼”. � rom � is the side-length plus ½”. � rom � is ⅓ scale. � rom � and � rom � are each �⁄� scale. Square up rom � to �. � is located on the line rom �. � rom � is �½”; this distance, slightly increased rom that in the normal
draf, locates the most prominent part o figure in the waist area.
� rom � is �⁄� scale; square out to locate �. Halve the ork angle at � and strike a line diagonally, fixing ront run o ork at a point about �¼” rom �. �� rom � is �⁄� o the disproportion; �� rom � is ½ this amount. �� rom �� is ½ �� rom �. Connect ��–� by a guide line and on this line locate �� at about �” above �.
Shape the ront, ��–��–��–�, as indicated. �� rom �� is ¼ waist measure plus ¼”; “spring” out ¼” to ��. Curve the top gradually rom �� to ��, as shown. Square down rom � to �. �� rom � is ½ leg measure less �”. �� and �� are each ¼ knee measure rom ��. (It is not always possible to divide the knee measure in this manner. In certain cases it is better to fix the bottom width and draw straight down rom �, and just inside �, arranging the knee aferwards according to size and style required.) �� and �� are each ¼ bottom measure rom �. Shape the side-seam rom is to ��, pass through � and continue to is—ignoring point �. ake out a small vee at the top, as shown, and arrange the “dress” as usual (see dash lines).
U�������� �� rom � is �⁄�� scale plus ¾”. Point �� is located below the line, as shown, and may be “swept” out rom �, with �� as a pivot. ��� rom �� and ��� rom �� are each �”. �� rom � is the same as � rom �. �� rom �� is the same as �� rom �. Draw seat line rom �� through �� and up to ��, which is �½” above the top o topside. “Spring” out ¾” at �� and draw the seat-seam, as shown, curving to �� (¾” above line squared rom �) through �� and �� to ��. Using �� as pivot, sweep out rom �� and is to �� and ��. Measure topside rom �� to ��, place this amount at �� and continue to ��—½ waist plus �”. (No dart is taken out at underside waist in this case, as the waist measure is greater than the seat by a considerable amount. When this does not occur and a dart is thought to be necessary, allowance must be made over the �” quoted.) “Spring” out ¼” to ��. Measure topside rom �� to just above �, place this amount at seatseam opposite ��, and continue to ��—½ seat plus �½”. Shape the side-seam as shown, running into �� and rom that point downwards in line with topsides. � rom �� is ¾”; square up �¼” to �. Complete the draf. N���: No mention has been made o the style o bottom—plain or permanent turn-up. Te construction o these and the application o the sideseam and leg measures are exactly the same as described or the normal trousers in Chapter VIII.
CUING FOR CORPULEN FIGURES
DIAGRAM 37.
���
GENLEMEN’S GARMENS
���
WAISTCOAT FOR THE CORPULENT FIGURE
Diagram ��
HIS draf is constructed by the Chest Measure System described or the normal waistcoat and illustrated by Diagram ��, Chapter IX. Application o the required measures and the assessment o the disproportion are clearly set out. Te style is standard, with the customary pockets illustrated. Te ronts are cut or the bottom button to be lef unastened—a eature which men o corpulent build requently like to have in their waistcoats. Some stout men, however;, preer to use all buttons. As was said earlier, customers should always be consulted on this matter. M�������: ��” natural waist ; ��” opening ; ��” length ; ��” chest ; ��” waist ; �¾” x-back (as coat).
Chest Scale is ½ Chest Measure—��”. Working Scale is ⅓ Chest Measure plus �”—��”. Disproportion—�”.
DIAGRAM 38.
CUING FOR CORPULEN FIGURES
���
I����������� ��� D������� Square rom �. � rom � is ½ working scale. � rom � is the waist length. � rom � is �¾”. (Tis may be varied to taste.) � rom � is ¼ distance rom � to �. � is hal-way between � and �. Square out rom �, �, �, and �. �� rom � is ½”; draw a line rom � through �� to the bottom opposite �. �–�–�� orms the centre back-seam. � rom � is �⁄� working scale plus ¼”. � rom � is �”; shape the back neck rom � to �. � rom � is ⅓ chest scale. � rom � is the x-back measure plus ½”. Square up rom � to locate �� and ��. �� rom �� is ½”. Draw the guide line rom �� to a point hal-way between � and �; shape the back shoulder-seam rom �� to �, as indicated. �� rom � is ¼ chest scale; �� rom �� is �½”. �� rom � is ½ chest measure plus �½”. �� rom �� is �⁄� working scale plus ¼”; square up to locate ��. �� rom �� is ½ working scale less ¼”. Draw a line rom �� to ��. �� rom �� is the same as rom � to �� on the back, less ¼”. Point �� is dropped ⅜” below the line. �� rom �� is �½”; �� rom �� is ¾”. Draw a line rom �� to �� and mark �� hal-way on this line. Shape the scye rom �� to ��, hollowing ½” at ��; continue through ��, dropping ½” below the chest line, round to ��, hollowing ½” at �.
�� rom �� is �⁄� working scale; connect �� to ��.
Deduct the back-neck width, �–�, rom the opening measure and apply this rom �� to ��—adding ½” or seams. Continue the line ��–�� through �� to �. Mark ¾” rom �� to ��, making the latter point ¼” above the line, and shape the opening edge rom �� to ��, as indicated. Now apply the length measure, less the back neck, rom �� to �— adding ¾” and sweeping back rom � to �. Now mark � at hal-way between � and �, but slightly nearer �, and connect to ��, thus making the new centre line— ��–��–��–�. Shape the ront edge rom ��, keeping ¾” in ront o centre line, down to a point ¼” outside o �, as indicated. Te top pockets are marked about �” below the chest line at point ��, which is �½” rom the side-seam; the bottom pockets are placed �” below the top ones, with point �� about �” rom the side-seam. �� rom �� is �”; square down by ��–�� and on the line make �� and �� each, ½” the amount shown between � and �. Tis is taken out in the orm o a dart, as shown by the shaded portion.
Complete the run o the bottom edge rom the point at � to �� and rom �� to ��. It is a good plan in a waistcoat o this kind to insert a “puff” in the back. Tis may be done at ��—about �½” rom ��. Te back is cut up at �� and a ¾” gusset put in. Also, a small open slit may be arranged on the back-seam, as indicated by the short slant opposite �. Side slits may be inserted, i desired.
N��� �� ��� S����
A relatively narrow shoulder is a eature which Square down rom �� to ��; �� rom �� is ¼ the disproportion less ¼”. enhances the appearance and comort o a waistcoat or a large figure. Te dash lines at that part on both back Draw a line rom �� through ��. �� on the dropped chest line is ½” rom the level o ��. and orepart o the draf show an alternative run into Square down rom �� to ��. the armhole. Te amount o width reduction illustrated For a figure o this type the side-seam is drawn through point ��, is very small—it may be increased as the cutter thinks and a slight “spring” is given to the contour below the waist line, fit. It is not wise, however, to overdo this narrowing; the as shown at ��. wearer’s braces are inclined to show i the shoulders are �� rom �� is about �”. � rom � on the back-seam is ½”; this amount is taken out at the too narrow. In the case o a customer who wears a belt back dart �–�. to support his trousers, this problem does not arise. Te dart is located by measuring back rom � to � about �” and squaring down to � at the bottom edge. With this line as a guide, shape the dart, as indicated. Apply ½ waist measure plus �½” rom �� to ��. Te distance registered between � and �� represents a shortage in the waist-girth contour; this is rectified by making an overlap on the side-seam o the amount �–��, applying it as rom �� to ��. Shape the side-seam o the back rom �� through �� to ��, making the distance between �� and �� a little longer than that between �� and ��.
Some large-built men preer the back-strap finish at the back waist. Tis may be adopted in place o the dart at that section. Te “puff” can still be inserted. T�� W���� M������
Attention is drawn to point ��. Actually, this will be ound to all almost on point �. It is shown in the present position or the sake o clarity.
GENLEMEN’S GARMENS
���
LOUNGE JACKET FOR THE CORPULENT FIGURE
Diagrams �� and ��
F
OR this draf certain o the short direct measures already mentioned will be used; they will be ound included in the set o measurements below. Te use o direct measures in a figure o this kind is o some advantage as a means o checking; their employment in this draf will make the method o application clear to the reader. It will be understood that jackets or corpulent figures may be drafed by the Proportionate, or Chest Measure, System already described. Careul observation and noting o figure peculiarities are necessary, whether or not direct measures are adopted. M�������: ��” natural waist ; ��” ull length ; �¾” x-back ; ��½” to elbow ; ��½” to cuff ; ��” chest ; ��” waist; ��½” seat ; ��½” depth o scye ; ��¼” ront-shoulder ; ��½” over-shoulder.
Chest Scale is ½ Chest Measure—��”. Working Scale is ⅓ Chest plus �”—��”. Disproportion—�”. I����������� ��� D������� D������ ��
Square rom �. � rom � is the depth o scye measure. � rom � is the natural waist length plus ¼”. � rom � is �” or the seat line. � rom � is the ull length plus ½”. Square out rom these points. � rom � is �⁄� working scale plus ¼”. � rom � is ¾”; shape the back neck rom � to �. � rom � is ⅓ o the over-shoulder measure plus ¾”. � is hal-way between � and �. Square outwards rom � and �. � rom � and �� rom � are each ½”. Draw the centre back-seam �–�–�–�� (this seam is sewn in the mark). �� rom � is the x-back plus one seam. Square up to locate �� and ��. Go up ½” above �� and square out ¾” to ��. Curve the upper part o back scye rom �� to ��, as shown. Shape the back shoulder-seam rom �� to �. �� rom � is ⅓ chest scale. � rom �� is �”; square down rom � to locate � and �. �� rom �� is ¼ chest scale plus �¾”. �� rom � is ½ chest measure plus �¾”. (I the x-chest measure is adopted, ½ o this can be applied rom �� to �� to locate ront o scye.) �� rom �� is �⁄�� working scale plus ¼”. Square out ½” rom �� to �� and make ¼” “step.” �� rom � is ¼”. Draw the side-seam o back rom the “step” at �� through � and �� to the bottom, as indicated.
�� rom �� is �⁄� working scale plus ½”; square up in the direction o ��, which is located by applying the ront-shoulder measure in the ollowing manner: Measure back neck rom � to �, deduct this rom ront-shoulder measure and apply the remaining amount, plus ½”. rom �� to �� by sweep. Draw a line rom �� to ��. �� rom �� is the same as rom � to �� on the back, less ¼”. Point �� is dropped ½” below the line. �� rom �� is �”; connect �� to ��. �� is hal-way between �� and ��. Shape the ront scye rom �� to ��, hollowing ½” at ��, and continuing round to a point ⅜” below ��; make a step here similar to that on the back. Square down rom �� to ��. �� rom �� is ¼ o the disproportion (�”) less ¼”—�¾”. Draw a line rom �� through �� to locate �� on the line squared rom �. Square down rom �� to locate �� on the same line. �� is located hal-way between �� and ��. Draw a line rom �� through ��; �� rom �� is �¼. Apply ½ waist measure plus �¼” rom ��; this will be ound to all just outside the back seam at �. Te distance between � and � has to be overlapped on the side-seam, as shown rom � to ��. �� rom �� is the difference between the ½ chest and ½ seat measures. Shape the orepart side-seams rom the “step” below �� through �� and �� and through �� to �, as indicated. (Te last point is ¼” above the line squared rom �.) Draw a line rom �� to �. �� rom �� is �½”; square down rom �� to ��. �� rom �� is �”. �� rom �� is �”.
CUING FOR CORPULEN FIGURES � is about �” below the waist line and �¼” rom the side-seam ; draw a line rom �� to � and a line rom � through �� to ��, making the latter about �”. �� is about �½” below the chest line and marks the position or the end o the lapel turn or a button-two jacket; it is �½” in ront o the centre line ��–� �–��. Shape the ront edge rom �� round to a point about ¾” in rom �� and drop slightly below the line at the bottom; complete the bottom edge to �, as shown. Particular notice should be taken o the run on the ront edge below point ��, until it takes the shape o the cut-away. It is actually a little more orward at a position about �” lower than the waist line, �–��–��. Tis is usually the point o the greatest prominence ill the corpulent figure. On the line o the pocket mouth ( �–��), square rom �� down to the bottom. �� and �� are each rom this line hal the distance between �� and ��. Te shaded portion bounded by the lines ��–�� and ��–�� will be taken out when the pattern is cut or the insertion o the well-known Donlon wedge. (A separate diagram will show the application o this.) � rom �� is �”; � rom � is �½”.
���
Draw the crease line rom � to ��. � rom � is �”; � rom � is ¼” ; use the square in the manner described
earlier and mark out rom � or the gorge and lapel top. Shape the gorge rom ��, as indicated, taking out a single seam dart.
Te width o the lapel at the top is about �¾”. Complete the draf, as shown.
N���� �� ��� D���� Te reader will have noticed that the main construction o this draf differs very little rom that based on the Chest Measure System already described. Te depth o scye, ront shoulder, and over-shoulder are the only direct measures actually applied to the construction.
I the proportionate method is preerred, the draf can be produced by it quite easily. Points � and � may be located as are points � and �� on the Normal Lounge Draf (Diagram ��); �� rom �� may be made ½” more than rom � to �.
DIAGRAM 39.
GENLEMEN’S GARMENS
��� I�������� �� ��� W����. S������ A. D������ ��
Tis diagram illustrates what happens when the pattern is closed at the bottom edge, as indicated by the shaded portion between �� and �� (see Diagram ��). First cut along the lines ��–� and �–��–�� (see same diagram). Now old the bottom o pattern so that point �� alls on point ��, running the old to nothing at ��. Te effect will be that �� will move outwards and downwards; and �, at the rear o pocket mouth, will drop. On the cloth, mark rom �� to � and rom � to ��; then mark rom � to � and rom � to ��.
Adjust the length o the pocket mouth, as shown by the short mark beyond �—�”. Te shaded portion rom � to �, running down to nothing at �, may be lef on as inlay. It will be seen that the bottom edge has to receive some attention. Its contour has been distorted by the closing o ��–��, as indicated by the dash lines rom � to �; thereore, it is necessary to re-mark the bottom as indicated by the solid contour between those two points. Further, it is important that the upper and lower edges o the pocket mouth coincide in length. �–�� and �–�� must be checked or this. N���: When laying the pattern on a material with a striped or checked design, take note o the ront edge in its relation to the design. I the centre line (shown on Section A) is placed as near as possible in line with a vertical stripe, the finished orepart will have its stripes running airly perpendicular. Avoid any tendency to get the centre line running too diagonally with the stripes, or this will cause a very unsightly appearance in the finished garment.
DIAGRAM 40. �A�
CUING FOR CORPULEN FIGURES A������ A���������� �� ��� W����. S������ B. D������ ��
Te effectiveness o the Donlon wedge is not confined to the very corpulent figure. It may be used or what might be called the semi-corpulent type, or in any case where the removal o loose material under the ront o the pocket is desired. Tis diagram shows the orepart o a figure measuring ��” chest and ��” waist—a semi-corpulent figure. Actually, the standard ��” block pattern may be used; and the wedge may be inserted without cutting the paper. Te procedure is as ollows: Square down rom � (ront o scye) to � on the waist line. � rom � is ¼ proportionate waist (or ��” chest), say ��”. � rom � is ¼ o the waist measure taken—��”. � is the normal position on chest and centre lines (equivalent o point � in the standard drafs). Draw a line rom � through �, as indicated. Now mark the pocket mouth and draw a line through it rom � at the side-seam out to the ront edge. Te ront o pocket mouth is marked at �. Next mark on the cloth, at the position o �—that is, the same distance rom � as � is rom � on the centre line. Again on the cloth, mark the new ront edge beyond the advanced centre line �–�. For this, a guide line is struck rom a position parallel with the centre line—as to �. Te usual allowance is made beyond the centre line, and the orepart is marked out rom the under-arm dart, round the scye, shoulder and gorge—the requisite addition or the larger waist measure being made, as shown by the dash contour. Now, with a finger on �, swing the back portion o the pattern so that point � alls on the mark at �. Lif the pattern so that the pocket mouth may be marked (with its opening as indicated by the shaded portion) and draf round the back section o the pattern as shown by the dash lines. Complete the bottom edge, as indicated. It will be realised that the process is very much the same as the one just described; but it has the advance o being applied without any cutting o the block pattern.
DIAGRAM 40. �B�
���
GENLEMEN’S GARMENS
���
MORNING COAT FOR THE CORPULENT FIGURE
Diagram ��
HOUGH the general structure o the morning coat differs quite a lot rom that o the lounge or reeer jacket, the principle o providing or the corpulent figure is very much the same. As in those garments, it is a matter o placing the material where it is needed on the figure. What was said earlier about the types o corpulence applies here; observation o the figure being measured will indicate where the greater amount o increment occurs, and the pattern will be drafed accordingly. Te method o fixing the amount o the disproportion is exactly the same as that used or the lounge. (Te Chest Measure System is used.) M�������: ��” natural waist ; ��” ull length ; �¼” x-back ; ��” to elbow ; ��” to cuff ; ��” chest ; ��” waist ; ��” seat.
Chest Scale is ½ Chest Measure—��”. Working Scale is ⅓ Chest Measure plus �”—�o⅔”. (��” may be used in this case.) Disproportion—�”. I����������� ��� D������� Square rom �. � rom � is ½ working scale. � rom � is the natural waist length plus ¼”. � rom � is ¾” or ashion waist. � rom � is the ull length plus ½”. � rom � is ½”. Draw the upper part o centre back rom � to � and �.
Shape the back scye part o side-body rom the “step” to a point ¾” out rom �. �� rom �� is �¼”. �� rom � is ¼ chest scale. �� rom �� is �”. �� rom � is ½ chest measure plus �¾”. �� rom �� is �⁄� working scale plus ½”.
Te short distance rom � to the ashion waist is cut straight, as shown.
Square up rom �� to ��, making the distance ½ working scale plus ½”.
From this point draw the remainder o centre back straight down to �, opposite point �. � rom � is �⁄� working scale plus ¼”. � rom � is ¾”; shape the back neck rom � to �. � rom � is � o the distance between � and �. �� is hal-way between � and �. Square out rom � and ��. �� rom �� is the x-back measure plus one seam. (Te upper part o the centre back is sewn in the mark.) Square up and down rom �� to locate ��, ��, and ��. �� rom �� is ½”; �� rom �� is the same. Shape the back shoulder-seam rom �� to �; shape the top part o back scye rom �� to ��, as shown. �� rom � is �½”. � is ½” below ��. Draw a line rom � to �, thus locating � on the chest line. � rom � is �½”. Draw the curve o the back side-seam rom � through � and �� to a point on the ashion waist line, as indicated. � rom � is ⅓ chest scale. �� rom �� is �¼”; �� rom �� is the same, with a ¼” “step” added.
Draw a line rom �� to ��. On this line, �� rom �� is the same as rom � to �� on the back, less ¼”.
Drop ½” to �� or the orepart shoulder point. �� rom �� is �”; connect to ��. Shape the scye rom �� through �� and �� (hollowing ½” between �� and ��) round to a similar “step” at ��. Square down rom �� to �� and continue downwards. �� rom �� is ¼ o the disproportion less ¼”. Draw the new centre line rom �� through ��. Measure rom � ½ the waist measure plus �¼”, which will be ound to all slightly ahead o point ��, as at �. �� rom �� is ½”. (Tis amount should always be taken out here, even though the distance between �� and � shows a size deficiency in the waist girth.) Complete the side-body contour rom the “step” ¾” in ront o �, through � to ��, and continue down to a position ½” below the ashion waist line, as shown at ��. �� rom �� is the same as rom � to ��. Shape the ront seam o the side-body rom the “step” at ��, through �� and �� to a point on the ashion waist line, as shown. �� rom �� is ¾”, thus making an overlap o the amount required to make up the waist measure.
CUING FOR CORPULEN FIGURES Shape the orepart side-seam rom the “step” at ��, through �� and ��, to a point in above the ashion waist line. � is located below �� where ashion waist line and original centre line cross over. �� rom � is ¾”; �� rom �� is ⅔ the amount between �� and ��. Draw the bottom edge o the orepart rom �� to the point below ��, as shown by the solid line. �� rom �� is �¼”; it is located on the new centre line, �¾” rom ��. Shape the ront part o the bottom edge rom �� to �� and continue to a position about �” rom the last point; here a ½” dart is taken out, as indicated. For the top o skirt, make �� rom �� ⅝”. Te skirt waist seam is drawn rom �� along the dash line, then to ��, slightly below the outline o the bottom o the side-body. Te bottom edge o orepart is drawn rom the dart about ¼” below the dash contour, as indicated. Tis allows or the loss when the seam is taken at the dart. Square down rom �� to ��—�”. �� rom �� is �”; �� rom �� is ½”.
N��� �� ��� S����
Te ronts shown on this draf are designed to button-one, with a link— this is the most usual style. Te amount beyond the centre line is based on this assumption. I it is desired to have the ronts buttoning over, ¾” should be added to the distance between the centre line and point ��. Lapels are o the “step” type; but the pointed style may be adopted, i preerred. Tere is generally an outside breast pocket, placed airly high. Te contour o the ront o skirt should be made in a way as will provide as long a run as possible; this helps to give the slimmer impression which is an advantage or the large, stout figure.
Draw a guide rom �� through �� to ��, making the last point ½” below the level o �.
Now shape the rear o the skirt rom �� through �� to ��; and run the ront o skirt rom �� in a graceul curve to ��. �� rom �� is �⁄� working scale less �”. Mark back ½” to � and use the angle o square or striking the run o the gorge, as described beore. � rom �� is �” or the collar stand. �� is located �¼” in ront o the centre line and is �¾” above ��. Draw the crease line in the usual way and shape the lapel according to taste. Its width at the top in this case is about �”. Complete the draf, as indicated. A���������� �� ��� S��� M������
Te seat measure is ofen an important guide to the general development o corpulent figures. It may be applied in the ollowing manner: Square down rom �� to locate �, level with point ��. Measure rom � to ��, ¼ o the seat measure plus �”. Te ½” rom �� to �� is then added, all already described.
���
DIAGRAM 41.
GENLEMEN’S GARMENS
���
DRESS COAT FOR THE CORPULENT FIGURE
Diagram ��
HE construction o the draf shown here is exactly the same as that described in connection with the previous draf. Basically, the system or cutting the Dress Coat does not differ in any way. Te arrangement o the disproportion is made in the same way; but the provision o the waist girth is altered to suit the particular design o the garment. Differences in style and structure will be detailed below. M�������: ��” natural waist ; ��” ull length ; �¼” x-back ; ��” to elbow ; ��” to cuff ; ��” chest ; ��” waist ; ��” seat.
Scales computed as in previous draf. Disproportion—�”. Chest Measure System. I����������� ��� D������� Square rom � and construct the draf exactly as or the Morning Coat, as ar as the establishing o the new centre line ( ��–��) and the distribution o the waist girth.
T�� S��� M������
Tis may be applied in the manner described or the Morning Coat, by squaring down rom �� and out to the back skirt section.
� will be located as beore, but the ront edge will be arranged as ollows:
N��� O� T�� S���� Square down rom �� to locate �� and ��. �� rom �� is �¾”; �� rom �� is ¾”. Such dimensions as the width o lapel, the distance Te crease line is drawn rom the point �, which is �” out rom ��, rom �� to �, and the cut-away rom �� to �� are all as beore. variable; they may be decided according to the taste o �� is ¾” rom the centre line at ��, �½” up rom ��. cutter or customer. When shaping the gorge, make � rom �� about �½”. It is advisable, however, not to have too open an effect Te width o the lapel at the top is �” and the point is made moderately steep, as indicated. at the ront o a dress coat or a large figure. Te slope o Shape the lapel and continue the ront edge rom �� through � to ��. Now draw a line through rom �� to the point below �� on the ashion waist line. (Part o this contour is shown by the dash line to �.) � rom �� is �”; a dart o ½” is taken out here, the rear edge o it being dropped ⅜” at �. (Tis arrangement will allow or the
seaming and the restoring o the orepart contour at waist seam when the dart is sewn up.) Te back part o the skirt is drafed as in the Morning Coat. For the ront part, mark back rom �� to � about �½” (ignoring the dart amount). �� rom �� is �½”; draw a guide line rom � to ��. � is �½” rom ��, on a slanting line. Shape the run o skirt in a gradual line rom � to � and ��, as indicated. Complete the draf.
��–��, or instance, should not be too acute; i it is, there will be rather a lot o white waistcoat showing when the coat is in wear. Tis is a aulty style eature, or it will accentuate the stoutness o the wearer.
An outside breast pocket is usual; a flower-hole is ofen put in the lef lapel. Te length o the ront dart should not be too great, or it is not necessary to throw a great deal o ullness in the area just below the chest line. In the present draf the distance rom � to � is �¼”; this may be taken as a satisactory length or the dart.
CUING FOR CORPULEN FIGURES
DIAGRAM 42.
���
GENLEMEN’S GARMENS
���
SINGLE�BREASTED OVERCOAT FOR THE CORPULENT FIGURE
Diagram ��
HIS garment is designed or a fly ront with three buttons. Te lapel is o moderate width; the side pockets have flaps. An outside breast pocket may be introduced i desired. Te sleeve cuffs may carry one or three buttons. Te style is semi-fitting and the basic construction o the draf ollows very closely the corpulent lounge draf. Te method o dealing with the corpulence is exactly the same. (Chest Measure System is adopted.) M�������: ��” natural waist ; ��½” ull length ; �¼” x-back ; ��½” to elbow ; ��” to cuff ; ��” chest ; ��” waist; ��” seat. Increased Chest Measure or Overcoat—��” plus �” (��”).
Chest Scale is ½ Increased Chest Measure—��”. Working Scale is ⅓ Increased Chest Measure plus �”—��¾” (say, ��”). Disproportion—�”. I����������� ��� D������� Square rom �. � rom � is ½ working scale. � rom � is ⅜”. � rom � is the waist length plus ¼. � rom � is �” or the seat line. � rom � is the ull length plus ½”. Square across rom these points. � rom � is ½”; � rom � is ¼”. Draw the centre back-seam, �–�–�–�. (Tis seam is sewn in the mark.) � rom � is �⁄� working scale plus ¼”. � rom � is ¾”; shape the back neck rom � to �. �� rom � is ¼ the distance between � and �. �� rom � is the x-back measure plus ½” and one seam. Square up rom �� to locate �� and ��. �� rom �� is ½”; �� rom �� is ¾”. Draw the back shoulder-seam rom �� to �, as indicated. �� rom �� is �⁄�� working scale less ¼”. Go out ⅜” beyond is and make a ¼” “step,” as shown. Shape the back scye rom �� down to the “step” at is. Square down rom �� to locate �� and �. �� rom � is ¾”. Draw the side-seam o the back rom the “step” at �� through �� and �� to �, which is ��” rom �. (Tis amount may be varied to taste.) �� rom � is ⅓ chest scale. �� rom �� is ¼ chest scale. �� rom �� is �½”. �� rom � is ½ the chest measure plus �½”. �� rom �� is �⁄� working scale plus ½”. Square up rom �� to ��, making this distance the same as rom � to � on the back, plus ¾”. (Tis extra length is usually required in an overgarment or a corpulent figure.) Draw a line rom �� to ��.
On this line measure rom �� the amount o the back shoulder ( �– ��) and mark �� the same distance rom ��, less ⅜”. dropping ⅜” below the line, as indicated. � rom �� is ¾”; connect � to ��. Drop the scye ½” below the chest line, as shown rom �� to �. Shape the scye rom �� to �, hollowing ½” rom the line, continue through to the dropped scye line and round to ���, which is ½” below the “step” at ��. Form a similar “step,” as shown. Square down rom �� to ��. �� rom �� is ¼ o the disproportion less ¼”. Draw a line rom �� through �� and extend to ��, which is located on the line squared across rom �. Square down rom �� to �� and locate �� hal-way between �� and ��.
Te new centre line is thus ormed rom �� to ��. �� rom �� is �¼”. Apply ½ the waist measure, plus �½”, rom � on the back seam. It will be ound that this measurement will extend beyond the centre line, as at ��. Tereore, the waist measure must be made up by overlapping the sideseams at ��–�� the amount registered rom the centre line to ��—½” in this case. �� rom �� is the amount o the difference between the ½ chest and ½ seat measures, plus ½”. Shape the orepart side-seam rom the “step” at ���, through �� and ��, down to �, which is �½” rom �. �� is �¼” in ront o the centre line and is about �½” below the level o the chest line. Draw the ront edge down rom �� to �, keeping parallel with the centre line. � is the same distance below �� as �� is below ��. Now shape the bottom edges o both back and orepart, as shown. Points � and � are raised ½” above the line squared rom �; sideseam lengths should be checked. �� rom �� is �⁄� working scale less ½”; it is ⅜” behind the line. Use the square in the manner described beore and establish the gorge run and top o lapel.
CUING FOR CORPULEN FIGURES �� rom �� is
�”; square out �¾” to �� or the location o the crease
line.
Draw the crease line rom �� to ��, breaking it at the single-seam gorge dart, as indicated. Shape the lapel according to taste; its width at the top is about �¾”. � rom �� is �”; square down ��½” to � or the top o side-pocket. Te length o the pocket mouth is about �¼”. the ront tack being placed �¾” in ront o �. Te shaded portion shown below � to � and � is the amount o provision or the Donlon wedge (described in the Corpulent Lounge Draf). � rom � is ⅔ o the distance between �� and ��. When the wedge is arranged � and � will come together, the procedure being exactly the same as described or the lounge. Te sleeve pitches are marked as ollows: For the standard back pitch, mark �� rom �� ½ the distance between �� and ��, less �”. Te ashion pitch, �, is ½” below ��.
Measure the under-part o the scye rom the ront pitch to � and apply this amount, plus ½”, rom is to ��. Te last point is located on a short line drawn rom �, parallel with the line �–�. �� rom �� is �⁄� working scale plus ¾”. Shape the under-hal rom is through �� to �� and complete the sleeve. N���: As was stated in connection with other overcoat drafs, the amount o overlap shown on the side-seams at the bottom o back and orepart may be arranged in a manner which will please particular customers. In the case o corpulent figures, however, care must be taken not to have too “skirty” an effect at this part o the garment.
Te sleeve draf shown here is based on the same system as that explained in the article on sleeve-cutting. It is suitable or any overcoat with a standard-shape scye.
Te ront pitch is marked ½” below � on the scye curve.
Complete the draf, as indicated. T�� S����� D����
Square lines rom �. � rom � is the same as rom �� to �, less ¾”. � rom � is the same as the combined distances o ��–�� on the back and �� to ront pitch on the orepart, less ½”. � rom � is ½ the
distance between � and �, plus ¾”. � rom � is the same as rom �� to �� on the back, less ¾”. � rom � is ½ the distance between � and �, less ⅜”. Shape the crown o the sleeve. �–�–�–�, and extend to �. � rom � is the same as the distance rom �� to �
on the back. Square out rom � and down rom � to locate point �. � rom � is ½”; connect � to � and by this line square down rom � to locate � and ��. � rom � is the applied sleeve measure, less the x-back and with allowance or seams, swept orward in the manner described earlier.
�� rom � is �½”; square out towards ��. �� rom � is ⅓ working scale plus �”. (Tis amount, o course, may be varied to suit individual tastes.) �� is midway between � and �; square out to locate �� and ��. �� rom �� is �”; shape the orearm. �–��–� , as shown.
�� rom �� is ⅓ working scale plus �½” to �”. Shape the hindarm-seam rom � through �� to ��, thus completing the top-hal. For the under-hal, mark in �” rom � to is and draw the orearm rom �� through points opposite and equi-distant rom �� and �, as indicated.
���
DIAGRAM 43.
GENLEMEN’S GARMENS
���
PATTERN ADAPTATION FOR CERTAIN TYPES OF CORPULENCE
HERE are some corpulent figures which require certain adjustments in construction. Te system as set out or the various garments already described will produce patterns or those garments which will be quite satisactory or what might be termed the standard corpulent type. It has been pointed out that to give details o all the many kinds and degrees o corpulence would be an undertaking beyond the compass o this work. However, there is one general principle which may be discussed here—one that applies to a number o corpulent figures. In the case o large men whose stance is very orward at the ront waist, a pattern cut by the method described earlier might produce a garment somewhat deective in the across-chest area. Te distribution above the chest line between the points �� and �� would not be quite right. A process o “crookening” is needed in order to establish the correct “hold” in the garment above the chest.
I����������� ��� D������� Tis diagram is a reproduction o the Corpulent Lounge Draf (Diagram ��), with certain adaptations super-imposed. Tese are as ollows: Te neck-point, ��, is receded ¾” to �. Te ront shoulder, � to �, is measured in the usual way, so that the length o �–� is the same as the original ��–��. Te scye is shaped rom � to a point about �¼” above ��. Te crease line, �, is receded and a similar amount is taken off at the lapel. Tus, the upper part o the pattern is altered as shown by the dash-line contours. Te effect is to produce a little more length rom � to �� and to take away a little width rom �� to the ront edge. On the waist line a drop is indicated rom point �� to the ront. Tis is arranged by lowering point �� to �, an amount o �”. It has already been said that a common eature in corpulent figures is that the greater part o the waist increment alls below the standard waist line. Tereore, the waist measure should be applied (in the same way as already described) on the dropped line rom �� to �. N���: Te principle o the adaptation shown above the chest line may be adopted or the other garments described in the chapter dealing with the corpulent figure. Some cutters make a greater “crookening” o the shoulder when cutting dress coats or men o this type. Tere is an advantage in this, as long as it is not excessive. Dress coats are worn unbuttoned, and a tendency to work backward on the figure is something which is ofen encountered; the “crookening” helps to prevent such a tendency.
DIAGRAM 44.
C������ XIII
GENLEMEN’S GARMENS INLAYS AND URNINGS By HE EDIOR
I
NLAYS are lef at certain parts o most garments in order to provide scope or adjustment and alteration should these be required at any time. In juvenile clothes they are o greater importance than in those made or adults ; children develop rapidly and increases to lengths and girths o their garments are ofen necessary. Te main advantage o inlays to the cutter is that they allow him to make changes in fit and style decided upon at the trying-on stage. Position o seams ; depth o waistcoat opening ; lengths o coat and sleeve-these and many other dimensions may be changed or rectified afer the fitting, provided inlays and turnings are present at the parts o the garments affected. Without certain allowances o the kind, adjustments are difficult i not impossible o execution. A word o warning should be sounded here, however. It is not a good plan to leave wide inlays afer the trying-on—especially on certain seams which have to ollow the contour o the figure. For instance, the sideseams o a moderately close-fitting coat ; i there is a very wide inlay lef there, the tailor will not be able to
produce a clean run at the waist section. Again, at the hindarm o the under-hal sleeve a wide inlay will cause trouble when the seam is pressed open and will mar the appearance o the finished sleeve. Te diagrams (�� and ��) shown here depict the main parts o garments most requently ordered at the present time ; the essential inlays and turnings are illustrated. A slight exaggeration o the width o these inlays has been deliberately made, in order to make clear the extent and position o them. Appropriate widths and depths will be given in the explanations which ollow. Other garments, not illustrated, with seam placements similar to those described, will have inlays and turnings very much the same. From the more or less standard examples selected, it will be possible or the younger cutter, not quite so amiliar with the subject as the experienced crafsman, to judge or himsel where inlays should be allowed in those garments which are not so common.
���
GENLEMEN’S GARMENS
��� S������ A
Tis shows the back o a lounge jacket or reeer. An inlay o ¾” is lef at the back neck and down the length o the centre back-seam. Tere is a turning o about �” at the bottom. A small inlay, about ½” in width, is allowed at the back scye position, running to nothing just above the “step.” Tis is very useul in the case o an alteration to the back neck. It is necessary, sometimes, to let out the back at the neck position and to square up the back shoulder. When this is done a certain amount o shortening occurs in the back shoulder-seam ; the inlay just described will serve as a means o restoring the lost length.
DIAGRAM 45. �A, B, C, D�
A word about the under-arm and ront darts. It is a good plan not to S������ B cut these out until afer the try-on ; On the lounge orepart, depicted it may be an improvement to move here, an inlay o �” is lef down the them orward or backward. I they side-seam and one o ½” or ¾” round are basted out, it will be possible to part o the scye, along the shoulder- make such an adjustment ; i they seam, and round the gorge. Te ront are cut, it cannot be made. edge has an inlay o �” to �½” down S������ C its ull length ; a turning o �” is lef Here is shown the turning lef at the bottom edge. Similar inlays at the cuff o the top-hal sleeve. are adopted or reeers. It may be anything rom �” to �” When the coat is being marked up in width. An extension is allowed afer fitting, the inlay down the ront at the back part so that when the is cut away ; that o shoulder and scye turning is brought up underneath, may be reduced to ½” net. Te gorge this extension will take the tack o inlay may be lef at ½”, including that the slit. Such an addition will apply part o it which extends along the only to sleeves with button cuffs. top o lapel, as this will give the tailor Sometimes, when material is short, more “play” when he is making up this piece is seamed on-not “grown” the lapel. Te correct shape and on, as illustrated in the diagram. depth o the lapel should, o course, be marked distinctly.
S������ D
Te under-hal o the sleeve has an inlay down the hindarm, about ¾” in width. Tis is increased to about �½” rom a position �½” above the point where the cuff length is marked, thus orming a button-stand and acing or the slit. Te turning at bottom is similar to that on the top-hal. Te dash contour at the orearmseam illustrates an inlay which some cutters use instead o, or as well as, the one at the hindarm. It is helpul in cases where an alteration is made at the ront scye, making it wider and more orward ; more sleeve is required at that part, and the upper part o the inlay will supply it. Further, when sleeves have to be made wider throughout the orearm inlay can be used much more easily and effectively than the hindarm one.
A small inlay is usually lef at the top o the hindarm-seam, extending a short distance down to the underscye, as indicated.
INLAYS AND URNINGS
���
S������ E Tis is the skirt section o a morning coat with the inlays lef as or the first try-on. Tat at the back part is about �½” ; that down the ront may be �” to �½”. When marking up, the latter inlay is usually cut away above the position marked by � ; a acing generally extends to this position.
S������ F Here is a back section o morning coat or dress coat. Te upper part has an inlay at the back neck and the back scye, similar to those shown on the lounge section. Te one at the back-seam is about �” in width until it reaches a position ¾” above the ashion waist line (indicated by dashes), when it is made �½” wide down to the bottom. Tis lower part o the inlay may be made wider on the right hal o the back, in order to provide a good underlay or the vent. An inlay o �” is lef at the side part o the lower section: this, with the corresponding inlay on the skirt, orms the pleated part o the body-coat back. A turning o �” is lef at the bottom. S������ G Tis shows the skirt o a dress coat, on which the inlays are very much the same as those or the morning coat. Te one on the ront may be lef on, i desired, so that the lining can be elled back rom the edge when the garment DIAGRAM 45. �E, F, H, I� is made. I this course is adopted, the width o the inlay should not be more than ¾”. Some cutters preer to cut it cut away. However, it is away altogether afer the first or second fitting. quite a good plan to leave a certain amount on at S������ H the edge o the lapel and Te body-coat side-body has an inlay o ¾” or �” at the the gorge—especially in bottom, and a small one extending round the contour o the top, as indicated. Te dash-line contour shows an dress coats, on which the inlay which a number o cutters leave, at least or the first inlays are similar—so fitting. It is about ¾” in width, and is very useul i an that the tailor has plenty increase in the across-back section is needed. Tis inlay o scope or padding and is better removed afer the fitting, as it tends to restrict shaping the lapels and or the tailor in the matter o getting a good run to the seam. getting a pleasing style.
S������ I
Here is a morning coat orepart. Inlays are lef at the side-seam, at bottom and ront edges ; and at scye, shoulder-seam, and gorge. Tat at the bottom is �” or �¼” wide ; those at side-seam and ront edge may be about ¾” or �” ; at the shoulder and scye they are ¾”. Reduction in the width o all the inlays may be made afer the fitting ; and the one on the ront edge may be
For a dress coat allowance must be made or the edge to be turned in down lapel and ront so that the silk acings may be put on. (Tis will apply also to dinner jackets, o course.)
DIAGRAM 45. �G�
GENLEMEN’S GARMENS
��� S������ J On the topsides o trousers, as shown here, no inlays are lef on the seams. Sometimes a “grown-on” pocket acing is allowed, as indicated at that position ; it extends a little above and below the tacking points.
Bottoms or permanent turn-up are illustrated. For these, the distance rom � to � and rom � to � is �¾” (this is the most general width o the turn-up) ; the width o the lowest part, rom � to �, is ¾” or �”. Tis section is turned up inside, and is usually raw-elled or cross-stitched round. In some materials, such as Harris tweed and other loosely woven types, it is advisable to leave a little more or turning up inside, so that raying is less likely. Te dash lines at each side o the p.t.u. show the contour as it is generally lef by the cutter. Te distance rom � to � may be anything rom �¼” to �½” (the total amount o cloth needed or orming the turn-up), with a slight “spring” at the lowest edge, as indicated. Te trousers-maker will arrange the p.t.u. In the case o plain bottoms, the amount o turning lef will be about �”. I it is desired to shape the bottom over the instep (as or a relatively narrow bottom, or or a oot with a high ormation at that part) the ront part o the turning will be hollowed and the back part will be rounded. Sometimes a small “puff” is inserted at the ront turning, so that its edge has the same length as the inside contour o the trousers leg. Te small inset diagram, in which the solid lines denote the topside turning and the dash lines the underside one, will make this clear.
DIAGRAM 46. �J, K� S������ K
S������ L
Te undersides have inlays at side-seam and leg-seam, also at the seat-seam. Te last is cut away just above the ork, as indicated. Tis inlay should be about �¼” wide at the top, but should not be quite so wide when it reaches the lower curve o the seat-seam ; it should be stretched here when being dealt with by the trousers-maker. Neglect o this simple operation ofen causes a tightness at this part, with consequent discomort to the wearer and deectiveness in the appearance o the trousers.
Tis diagram shows the orepart o a standard waistcoat, with usual inlays marked. Te one which extends down the edge o opening and ront may be about �” or �½” wide ; that at the bottom the same, or slightly wider. I it is decided to leave the opening and bottom acings” growing” on, the inlays at those parts will orm the acings. Te ront edge inlay will be cut off, in the manner indicated at points � and �. A button-catch will be allowed on the right orepart, as described in the chapter on waistcoat cutting.
INLAYS AND URNINGS
���
DIAGRAM 46. �L, M, N� S������ M
Here is the back o the waistcoat. Te inlay at sideseam is �½” wide, that at the bottom edge about ¾”. Te latter is sometimes removed afer the first fitting, especially i the “bagged” type o back-making is to be used. Tere is a small inlay at top, running along the back neck ; this may be ½” wide. I neck-pieces are adopted, this inlay may be made just wide enough to turn in, say ¼”. Te inlays suggested by the dash lines are lef on by some cutters. Te one along the shoulder-seam, which is ½” or ¾” wide, may be used in a case where a slightly longer back is needed ; that at the scye is useul i more back width is required, or i the back is to be “squared.” (See notes on the coat back.) S������ N
DIAGRAM 46. �O, P� S������ O
No inlays are lef on the seams o the topsides o plusours ; but the “grown-on” side-pocket acing may De adopted, as illustrated in Section �. A small turning (¾” wide) is lef at the garter opening ; this turns back and orms a acing at that part. S������ P
Tis depicts the undersides o plus-ours, on which inlays are allowed at the same positions as on the trousers undersides. Te one on the side-seam becomes a little wider when it reaches the opening at the bottom, so that a reasonable underlap is provided. Te dash outline at the bottom suggests an inlay which is sometimes added when plus-ours are to be Tis is a trousers waistband. Tere is an inlay o �¼” tried on in a basted condition. A similar inlay may be at the part which joins the seat-seam o the trousers. (It lef on the topsides, i thought advisable ; both can be is assumed that seams have already been allowed or the removed when correct length has been established at width.) Te dash line going across the ront indicates the the fitting. beginning o the extension. Tis is a popular eature in trousers at the present time ; its length varies rom �” to �”. It is usually astened across the ront waist with a clasp.
GENLEMEN’S GARMENS
��� S������ Q
Inlays or breeches are mostly on the undersides, as illustrated in this diagram. Seat, side, and leg seams have them added ; the one on the leg is the widest (about �½” at the ork and �” at the bottom). It is useul when breeches are being fitted, an increase in ork can be easily effected and a greater width’ at knee can be given, i required. Notice the seam allowance at the bottom hollow: this is added or the try-on only. S������ R opsides o breeches have no actual inlays, but there are one or two places at which turnings can be added with advantage. Tere is one at the position o knee, small, and cal ; this is turned back to orm a acing or eyelet-holes or button-holes, as the case may be. At the bottom (cal position) the dash line indicates where an inlay may be lef or a fitting ; it is useul i adjustment o the length is necessary Notice the addition at �, where the cross-pocket mouth is placed. When the breeches are made, the dotdash line at � will be cut through and the part o the DIAGRAM 46. �Q, R, S� topside bounded by the dot-dash lines will be turned down to orm the ront acing o the pocket mouth N��� (the bearer orming the back one). Te added portion Inlays or most o the standard overcoats will be lef (shown shaded) will make up what would be lost when turning down the part o the side-seam at � ; it will be in the positions shown in Sections A, B, C, and D. In the cases o Raglan and split-sleeve overcoats, sewn in with the side-seam, or trimmed away to leave inlays are lef on the centre-seam o the rear sections just sufficient to “catch” at that part. o the top-sleeve, as well as on the hindarm-seam o S������ S the under-sleeve. Tey are usually about �” in width— Tis is the so-called knee-band o the breeches. It has sometimes a little wider, i a bold swelling is to be given an inlay on the side-seam and one on the leg-seam, the to the seams. In the event o plain seams being adopted, latter being the same width as that on the leg-seam o these inlays may be cut away afer the fitting. Tis undersides. A seam is allowed across the top (the small applies particularly to thin materials, in which an inlay position). For fitting, an inlay may be lef along the down the sleeve-seam may cause a little trouble to the bottom edge, as shown by the dash lines. tailor, chiefly at the shoulder-point position.
INLAYS AND URNINGS
���
GENLEMEN’S GARMENS
���
A STANDARD LAY FOR A SUIT
Diagram ��
H
ERE is a lay or a lounge suit which will be ound satisactory or a figure measuring ��”, ��”, or ��” chest, with waist and seat in the generally accepted proportion. Te lengths are as ollows: Jacket . . . . . . . . . . . . . . . .��½” Waistcoat . . . . . . . . . . . . . ��” rousers (side-seam) . . .��” Sleeve . . . . . . . . . . . . . . . .��” Width o the trousers bottoms is ��”. Te various fittings are marked, with certain exceptions which will be noted ; an the standard inlays are allowed. Te parts marked at �, �, �, and � will serve or the trousers side-pocket acings, hip-pocket flaps, jettings, etc. Tat marked at B may be used as a ork piece in a case where an extension at that part is thought advantageous. It will be seen that the acings o the coat are whole, and that the crease and side-seams o the trousers will all airly regularly along the stripes o a material patterned in that way. Tis lay is calculated or �¼ yards o cloth, ��” wide. I a reeer jacket is required, another ⅛ yard will be advisable. Increased lengths, too, will make such an addition necessary.
DIAGRAM 47.
C������ XIV
GENLEMEN’S GARMENS VARIAIONS FROM HE NORMAL DRAF By the late PERCIVAL HICKE. Revised by HE EDIOR
HE accompanying page o sections (Diagram ��) illustrates how the normal pattern will have to be adjusted to meet the requirements o irregular figures. It is assumed that the original block has been constructed on a proportionate basis, and is one that will provide a satisactory fit or the normal type o figure. When making the adjustments, it is advisable to work on a low estimate and not make the alteration rom the block too pronounced. Especially is this precaution necessary when one is working rom descriptions provided by travellers or agents. It is possible to have a combination o the examples shown here, such as a “stooping figure with square shoulders” or a “short stocky figure that is very erect” When this occurs, it is better to make the adjustment or size beore that or attitude. L��� N��� �� S������ S��������. S������ A Te alteration or this figure is shown by dash lines. Vertical lines are drawn through back and ront neck points, and the ex tra height added to accord with the figure as shown rom � to � and � to �. Connect � and �; also � and �. Raise the neck back at � to agree with the quantity raised at �. S���� N��� �� S����� S��������. S������ A Te alteration or this figure is shown by dot and dash lines, and is executed in the reverse way described or the long-neck figure. Lower the ront rom � to � and the back rom � to �. Lower centre at �� to agree with the drop at �.
S������� F�����. S������ B Raise the back rom � to � and bring in point � ½ the quantity raised to give the necessary round over the blade. Point � is raised and advanced to agree with the position o �. Raise point �, and i the figure requires a wider back extend down the back scye as shown. Drop the ront the same amount the back has been raised, and carry it orward a corresponding amount. Drop shoulder end at � and hollow scye at �. Full on the shoulder o back and shrink the back scye in the region o wavy lines.
I the coat has been cut out, the back can be passed up to obtain the necessary length. o do this, balance marks are placed at the side-seams, as shown at � and ��. Tese go together when sewing the side-seam. E���� F�����. S������ C Shorten the back right across as shown at �, �, and �, and narrow the back scye at �. Raise the ront shoulder-seam right across, as shown at � and �. Crooken the shoulder by receding the neck point rom � to �. Widen the across chest at �, and take out a small vee in the neck and through the crease line as shown. S���� S����� F�����. S������ D Tis particular type is generally blessed with a very large upper arm section. Other eatures are: a narrow shoulder and very upright carriage. Advance the scye, say ½”. rom the shoulder-seam (� to �). Lower the back at � and �, and run out to the shoulder end at � as set down or square shoulders.
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DIAGRAM 48.
C������ XV
GENLEMEN’S GARMENS PREPARAION FOR RYING�ON By HE EDIOR
HESE illustrations (Diagram ��) show the appearance o a typical jacket and waistcoat afer they have been prepared and basted. It has been said earlier that there is ofen too much carelessness in the matter o making bastes or trying-on ; the cutter is given a very difficult task in the fitting-room i the garments he is putting on the customer are prepared in a slovenly manner.
Here is the back view o the same o the fitting. Te customer, too, will have a clearer idea o what the jacket, showing the overlapped finished clothes will look like when seams at centre back and at the hindarm o the sleeves. he comes or his final try-on. F����� A
Tis is a lounge jacket in the orm generally termed the “skeleton baste.” Te canvases are in, and a partly shaped under-collar and canvas are attached. Te seams are basted over ; both sleeves are in ; A little care and thought on the part all the pocket positions are marko the person who is basting up the stitched. All edges are turned in to parts will make the cutter’s business marking-stitches. much more pleasant-and much more F����� B likely to give him a true impression
FIGURE A
FIGURE B ���
F����� C
Te waistcoat is illustrated in this figure ; it is prepared in very much the same way as the jacket. Interlining is in the ronts ; the darts are basted over ; the pocket positions are indicated by marking-stitches. All edges are turned in, with the exception o those at the armholes.
FIGURE C
C������ XVI
GENLEMEN’S GARMENS RYING�ON By W. W. PIPER
I�� P����
F
OR some obscure reason the art o fitting, as distinct rom the science o cutting, seems to require an introductory word o apology. Te separate values o cutting-out and making-up are recognised, but convention demands that fitting-on be considered a concession to the customer or a check on the workman.
Is it not better to appraise and employ every help to saety and success? Clever cutting and masterly manipulation are the piers o the technical bridge, but fitting is the golden chain which makes sae the tailoring way.
I�� P������
Te try-on stage provides an occasion or the ree Where much is thought o style and little said about and ruitul discussion o general design, distinctive price, two or more tries-on are possible and customary ; details, ashionable eatures, becoming effects, artistic but keenly cut costings make an occasional fitting the values, and personal preerences, when any, or all, may limit and the preparation or that must be quick and be adjusted or readjusted. inexpensive. Even so. It is not possible to draw hardIt is beyond the power o the most experienced cutter and-ast lines, in this connection, between West End to gather what precisely is in the mind o his customer and City trades, or between town and country tailors. when measurements are being taken, as it is impossible In many provincial townships there are tailors who or the clearest-thinking client to explain at that time rarely have opportunities or trying-on ; while others, in what he, or she, desires in every detail. But beore neighbouring streets, have shell, orward, and advanced the mirrors o the fitting-room ancies take shape, bastes or coats ; with, less ofen, two or a vest and one wishes leap into expression, errors o judgment or or trousers. understanding are revealed just when such difficulties and deects can be deeated by competent crafsmanship and cheerul courage. I�� P��� Te Shell baste, in its most effective orm, has shoulders manipulated ; shrunk canvas, or Syddo, through ronts ; wadding or domett, i any is to be used, in place ; all seams basted ; under-collar pressed into orm, and either basted on or lef unattached or pinning into position. At the Forward stage all pockets are in ; lapels padded ; acings and orepart linings basted in ; back-seam sewn and pressed ; ront edges and acings turned together ; shoulder and side seams basted ; sleeves completed, except or holes, buttons, and cuff elling ; collar padded and basted to neck.
Te Advanced baste has all seams, except sleeve heads, sewn ; edges made up, but not holed or buttoned ; collar completed, and most o the pressing done. Where just sufficient labour is employed in the business house or tries-on, alterations, and repairs, the shell baste is usual, but, it may be argued, where all work is done on the premises it is quicker, and better, to prepare or a single baste when the pockets are in ; back and orearm sleeve-seams sewn and pressed ; collar and lapels padded ; as there would be less ripping or re-marking than i the makeshif shell baste had been arranged or.
���
���
A still more effective single baste employed by skilul men, with previous experience o their customers, is that with edges up ; back and sleeve seams sewn, but cuffs, shoulders, side, and sleevehead seams basted. For two vest fittings the first has shoulders manipulated ; pockets in ; back-seam sewn and pressed, and the remainder basted ; the second would have all done except holes, buttons, and closing. Te lastnamed condition is that which many prepare or single fittings ; others have all work done except buttoning ; and some never try on vests.
GENLEMEN’S GARMENS I the general balance is seriously wrong, that is the first point to be corrected ; then begin detailed examination at the top o back, using a definite and perectly understood code o marks to indicate the nature, and extent, o corrections desired.
Check height o back neck ; general set and width o back shoulder, with particular attention to the scye ends o shoulder-seams and blade accommodation.
rousers preparation should at least include blocking, basting o all seams, use o dummy fly, and attachment o buttons ; but the advanced stage, in which all is done except closing the seat-seam and elling o bottoms, is still more helpul. Actual work in the fitting-room demands care, confidence, and concentration. It is essential that each garment should be put well on to the figure beore detailed inspection is begun ; and time will be saved by ollowing the same order o examination every time. Most o the processes are illustrated on Diagram ��.
It is just as effective, or all practical purposes, to overlap the coat and vest ronts as illustrated by Sections � and � ; by so doing the customer gets a better impression o the general appearance than when the oreparts are pinned along the centre lines. Te latter may be done aferwards, or the cutter’s guidance.
A WEST�END FITTING ROOM.
RYING�ON
���
Is the back waist clean? I not, is disturbance or excessive material due to local ault or to tightness below?
What o the length? Consult your customer on this point. Is one side longer than the other, as rom � to � on Section �? Inspect both side-seams. Te lef may be loose, and the right tight below the waist. I so, indicate where the aults start rom, and the degree o reduction or increase necessary— as rom � to � on Sections � and �. Check balance and general set o sleeves ; their width at top, elbow, and cuff, and length. I pitch is wrong, mark or correction as at � on Section �. Is one sleeve, on high shouldered side, held up and away rom customer as suggested by the dot and dash lines o Section �? Examine ront shoulders. Is the right scye oul near orearm pitch ; loose at shoulder ends as illustrated by Section �, with looseness along collar crease and lapel roll as suggested by Section �? Does the top button mark correspond with the top hole line, or are there such differences as those shown at �–� and at �–� o Section �, with similar disparity at bottom comers rom � to �? Mark line o overlap rom � to �, Section �. When coat shoulders are seriously out o order, pin the top o coat back to vest, and ront o coat, on scye level, to vest orepart ; rip sleeveheads and shoulder-seams ; adjust and pin into correct position. Note whether lapels roll to similar levels, or are as inexcusably different as shown at � and � o Section �.
DIAGRAM 50.
For trouser-leg length, width, and body-rise consider the customer’s taste. Observe and mark all points needing correction—not orgetting the crease run, which may be as ar Examine vest at back first, pinning out o its proper position as rom � up or marking surplus illustrated by to � on Section �. At orward or advanced fittings note collar set, guarding against the loose crease o Section �, and easy all o Section �, as well as ront collar aults o set and width.
Section �, and make careul notes o ront set on lines similar to those suggested or coat oreparts. Pay particular attention to the opening: there may be an excess o length, as shown at the one side on Section �. Tis should be marked or a certain amount o drawing-in, as indicated by the two small marks on the other side.
C������ XVII
GENLEMEN’S GARMENS MARKING UP AND RE�CUING AFER HE FIING By HE EDIOR
I
is ofen said by experienced cutters that any novice can, afer a little practice, cut a coat rom a block pattern ; but that it takes a ully qualified man to tryon, mark up, and re-cut a garment. Whilst this may be regarded as an exaggerated statement, it is true to say that fitting and marking up are two o the most important operations in good tailoring. Te description o trying-on which was given in the last chapter will have made it clear to the reader that a great deal o careul observation is needed in the
fitting-room. It may also be said that a reliable memory is essential to the cutter i he wishes to retain in his mind the various things noted at the fitting and the requests made during it by the customer. Te acquisition o such a memory is helped by the practice, adopted by many first-class cutters, o making a ew written notes on the back o the garment tickets. In busy houses, where a large number o fittings are carried out every day, it is easy or the cutter to orget certain important details concerning the clothes o individual customers. Tose pencil notes will be ound o the greatest value.
C�-��������� B������ C����� ��� T�����
Tough parts o only three garments will be illustrated, it will be readily understood that the principles explained in connection with these apply equally to other garments. Te business o marking up requires considerable care and thought on the part o the cutter. He should mark out clearly those things he wants the tailor to see. All pockets should be positioned, button-holes, width and shape o lapels ; and all indications o required stretchings, shrinkings, and drawing-in should be definitely indicated. Nothing should be lef to chance. It is unair—and very annoying to the tailor i when he opens the job. he finds blurred and careless marks all over it. He cannot see what the cutter wants done ; he uses his own judgment, in order to save himsel the trouble o going, or sending an assistant, to the cutter or urther explanation. Te resultant garment may please neither cutter nor customer—and the tailor may be blamed or
this, though it is not really his ault. It is the business o the cutter to mark up his work in such a way as can leave no uncertainties in the mind o his tailor. Te reward o just that little bit more trouble taken in the cuttingroom is a contented tailor who will have respect or the cutter and who will be encouraged to do his level best to make a satisactory job. Te whole thing is a matter o co-operation. Efficiency in the cutting-room will inspire the same quality in the workroom ; carelessness in the one will be likely to engender that ailing in the other. Diagram �� shows the back and orepart o a lounge jacket, on which are marked various signs to indicate what has been done afer the try-on and what has to be done by the tailor when he receives the garment in the workroom.
���
GENLEMEN’S GARMENS
��� T�������� �� I�����
Reerring first to the back, attention is drawn to the inlays and turnings lef afer re-cutting . Tese have been described beore, but they are now slightly different rom what they were prior to the fitting. Te inlay down the centre seam is not more than ¾” wide ; that at the neck is about ½” ; and the small one at � is the same amount at the top, tapering to nothing just above the sleeve-pitch mark. Te wavy lines at �, �, and � indicate a required drawing-in at those parts, as would be the case or a figure with rather prominent blades but somewhat “poor” in the region o the back scye. Some cutters preer to have a thin ply o wadding rom the shoulder-seam, round the area at �, and terminating at the side-seam. When a very prominent shoulderblade has to be fitted, it is a good plan to have the back stretched over that part o the figure. Tis is illustrated at �, the crossed line denoting the place where stretching is suggested. Te location o � is one at which a number o figures are ound to be prominent. Te upper part o the shoulder-blade, known to physiologists as the acromion process, is placed high, and the coat is inclined to “hold” over it. Such a development is requently ound in figures o thin build. By stretching the back careully in a diagonal direction, much can be done to make the fit more satisactory. With this ormation there ofen goes a relative hollow in the centre back, at a position just below the back neck. A normally cut back may show an excess o material below the collar, or which the most common adjustment is that o “squaring” the upper part o the back. Tis consists o lowering the two back neck points and making a new run o the shoulder seam rom these to the shoulder points. However, there are dangers in doing this, such as causing the back shoulder to be slightly tight on the orepart when the seam is sewn (even though the inlay at � has been utilised). Tis tightness may give rise to a crease in the orepart shoulder, running rom the neck to the upper part o ront scye, the rectification o which is not always an easy matter. A good way o dealing with the hollow is to let out the top o centre back seam a little and to have a piece o thin canvas, to which is basted a single ply o wadding, inserted at the top o back rom shoulder-seam to shoulder-seam. Tis is indicated by the dash line at �. Te balance mark at � on the back has been lowered about ½” ; when it comes to � on the orepart, a certain amount o back will be passed up. Coupled with this adjustment will be a lowering o the “step” at top o the
back side-seam and an equivalent addition to the length at the bottom. Such an alteration is made when the back has been ound, at the fitting, to be slightly short in “balance.” On the orepart, a slight stretching o the shoulder is indicated by the short marks at �. Tis should be done in the direction o the arrow, thus providing a little additional length at the upper part o the scye contour. As has been said in another place, this stretching should be carried out with care—it must not be over-done in the modern garment. Notice the short dart taken laterally through the lapel crease, at �. Tis may be employed when dealing with a prominent-chested figure. It is cut through, barely ¼” being taken out on the crease line. Its end on the lapel does not reach the edge ; i it did, there would be a shortening o that edge which would make it all relatively tight over the chest contour when the lapel was turned back—a bad eature in a coat or such a figure, where there is a large development in the area shown in the circle at �. L������� �� D���� Te wisdom o not cutting out the under-arm and ront darts or the first fitting is demonstrated by the alternative positions, which may be decided, shown by the dash lines at �, �, ��, and ��. It ofen happens that an improvement in the style o the garment can be made by moving these darts in the manner indicated. For instance, i a “draped” effect is desired, the location o a dart at �, terminating at �, will be o the greatest help in producing the ull appearance required at the ront scye. Wherever darts are placed, the tailor should be instructed to deal very careully with the ullness which orms at their base. Te arrows at ront and back o the side pocket (position marked) show the direction in which the ullness is to be pressed—towards the hip. It must not be allowed to stray to either ront or back. Te wavy line at �� indicates a slight drawing-in to be made at this part. A certain amount o steadying here is an advantage—especially in the “draped” style. Te dash line at the bottom edge ( ��) is a contour which some cutters mark in order to avoid the requent tendency or the coat to “all” at this part. Many customers are in the habit o loading their side pockets with all kinds o bulky articles (such as pipes, tobacco-pouches, cigarette packets, and the like), with the result that the bottom edge shows a round afer a short period o wear. Te suggested relatively hollow run counteracts this.
MARKING UP AND RE�CUING AFER HE FIING
���
B������
Te solid line at the ront (the normal centre line) may have been located correctly when the coat was cut ; but the fitting may have revealed certain aults in the balance o the garment. Many cutters are in the habit o bringing the two edges o the coat together at the try-on and inserting one or two pins at the assumed centre line. Te garment may be short in the ront balance. i so the chalk mark made down the pins would be running in the direction shown by the dash line at ��. On the other hand, a coat long in the ront balance would be indicated
by a chalk line running as that at ��. Similarly, short and long backs will have the effect o producing a distorted centre line. When marking up, the balance will be adjusted and the centre line placed in correct position. (Adjustments o this kind will be dealt with in another place.) A word about the orepart inlays. Tese, as will be seen, are in the positions noted in the chapter dealing with inlays in general. Te one at the side-seam has been reduced to ¾” ; those at scye and neck to about ½”.
DIAGRAM 51.
Some cutters cut away the one shown by the dash line at �, also that along the shoulder-seam—shown by the dash line at �. Te contention is that the latter inlay tends to restrict the shoulder section when the coat is made up ; and there is much to be said or this. I a careul fitting has been made, the inlay does not serve any urther purpose, and may well be taken away. At ��, on the side-seam, the inlay should be stretched slightly— not “snicked,” as some tailors are prone to do. Te dash-line contour at �� shows an adjustment that is made there sometimes when it is thought that too much cloth may be thrown when the darts are pressed open—particularly i they have been suppressed very much. Te same marking might be applied to indicate a reduction o one sideseam in the case o a figure smaller on right or lef hip. Reerence must be made to the inlay, about ½” in width, running down the edge o the lapel. Tis is lef in order to give the tailor plenty o “play” or padding and shaping the lapels (see the chapter on inlays). I the desired width o lapel is clearly marked when the coat is sent into the workroom, the tailor can trim away the unwanted inlay afer the under-pressing has been done. At the bottom edge a similar “leaving-on” is indicated. Te turning o �” is lef along the bottom, but the ronts have a small amount lef at the part which curves into the bottom edge (see at �. Here again, the tailor is assisted in the making up ; he will be able to get a pleasing contour at this part by using some o the small allowance beyond the required round. He can adjust his “run” and trim away the unwanted material.
���
GENLEMEN’S GARMENS M������-�� W���������
Section � illustrates a typical waistcoat orepart marked ready or the workroom. Te pockets are chalked or position, ronts o the welts being indicated by a single straight line. Tis line will not apply to very large figures or to waistcoats in which a particular placement o pockets is required, but or all relatively nonnal figures it is a good plan to have the welt ronts level. Button-stand is allowed on the right orepart ; “grown-on” acings are indicated at top (opening) and at bottom edge. Te short lines at � indicate that a slight stretching is needed here. In Section � adjustments or prominent chest are shown. A short dart is cut out at �, pointing towards the chest, indicated by the circle at �. Notice the broken contour o the scye at �. Te dash line indicates the correct run o this part. When the dart is sewn out, an even curve will be preserved at the scye. A slight drawing-in is marked by the wavy line at � ; this will
assist in the matter o providing extra room across the prominent chest, and in keeping the lower edge o opening airly close. Further, it will have the effect o counteracting some o the tendency o the small scye dart to “crooken” the shoulder. As a matter o act, some cutters do “straighten” the shoulders o waistcoats when such a dart has been adopted. In the case o a very prominent chest, however, this is not always an advantage. Section � shows how the waistcoat interlinings may be treated by the tailor. A cut is made rom � to �, into which a ½” “puff” is inserted, thus producing the “spring” indicated at �. Some waistcoat-makers cut the canvas away, as rom � to � (see dot-dash line), in order to ensure complete lack o restriction at the top o opening. Whether this method or the “puff” is adopted, the object should always be to avoid tightness at this part o a waistcoat ; it should be lef “ree,” so that it may lie “airly” on the linen collar o the wearer.
DIAGRAM 52.
Section �: Here is shown a section o the orepart o a double-breasted waistcoat. Te dot-dash line, �–�, is the centre line. It may be decided to cut through this line and to have the ront portion o the orepart attached as a panel. (Some cutters adopt this plan.) It has the advantage o providing scope to control the edges o bottom and opening, a ¼” space being made between the panel and the main body oithe orepart at � and �. Tis reduces the contour o both bottom edge and opening edge, thus keeping them “snug.” Te inlays shown on the diagram are those lef or the first fitting ; at the time o marking up that at � will be cut away ; so will the one extending down the actual ront. Tat at the bottom (�) may be lef as a “grown-on” acing. Points � and � indicate the extension o the “panel” seam to the inlays, as would be made i this style o cut were adopted at the outset.
C������ XVIII
GENLEMEN’S GARMENS ALERAIONS�HEIR CAUSE AND CURE By the late PERCIVAL HICKE and HE EDIOR
TROUSERS
Diagram �� F������� �� L�� (S������ �)
F
EAURES.—When the wearer is sitting. an C���� ��� R�����.—Te trouble may be due to a abundance o material alls in the lap. Tere is also too receding fly seam. In that case, the ronts will have a slight pressure at top o the fly. to be advanced as shown at � and �. dotted lines. A more requent cause is insufficient seat angle and a small ork. o rectiy: Let out the ork at � and throw the seat line back as outlined by dotted lines � and �. Section �A. T�� M��� M������� B���� S��� (S������ �)
F�������.—Tere is a quantity o surplus material below the brow o the seat which, whilst being suitable or workingmen’s trousers, would be strongly condemned by the dressy man.
C���� ��� R�����.—Tis is due to excessive seat angle and created by inclining the seat line too much. o remedy: Let out the inlay at the top o seat-seam at � to � and take in the side-seam at � and �.
S������ M������� �� T�� �� L��-���� (S������ �)
F�������.—When wearer is standing with eet in a natural position. excess length is noticed at the top o leg-seam. Te trousers may appear short in the leg. although they are ull to measure. Te bottoms cling to the inside o the boot.
C���� ��� R�����.—Tis is due to cutting what is known in tailoring circles as a too “open” leg. I the wearer opens his legs slightly the creases will disappear. Te remedy will be to let out the inlay at the leg-seam at the bottom (�) and run out to nothing at the ork (�). Te side-seam will have to be reduced a corresponding amount, as shown at � and �. Reduce the ork o topsides a trifle, as shown at �.
“R�����” �� ��� S���-S��� (S������ �)
F�������.—With this deect there is a chronic tightness up the back region. Te closing seam is drawn up and a pleat orms on either side. Tere is also a strain on the knee when walking and a difficulty ouna in raising it.
C���� ��� R�����.—Te cause o the tightness is the shortness o the seat-seam, the angle and run being too straight. With the English style o trouser cutting, this is generally the result o an attempt to give a cleanfitting seat. o remedy: Hollow out the seat-seam at the ork (�) and carry the new line parallel with the old one to the top (�). Let out the side at � and � to make up the measurement.
���
ALERAIONS�HEIR CAUSE AND CURE
DIAGRAM 53.
���
���
GENLEMEN’S GARMENS Diagram �� V������� F���� �� F��� (S������ �)
F�������.—Te ork in this deect presents a very C���� ��� R�����.—Tis is a deect typical o bedraggled appearance. Vertical olds o what could workingclass trades, and is entirely due to excessive ork correctly be termed “excess” width orm up on either allowance. side o the fly and the upper part o the leg. o rectiy: Reduce the ork as shown at �, �, and � on either topsides or undersides, or both. H�������� F���� (S������ �)
F�������.—Te undersides in this deect have estoons o surplus material below the brow o the seat. Diagonal creases run rom the ronts across the leg-seam and the undersides cling to the cal o the leg. Tere may be a tightness in the ork when sitting.
C���� ��� R�����.—Tis deect is usually noticed on men with prominent thighs and calves. Relie can be obtained or these figures by ulling on the topsides over the thigh and the undersides over the cal. Another remedy, and one that has been used successully or this deect, is to let out the underside ork as shown at � and hollow the seat at �. From � run out to nothing at the waist at �, and let out the side-seams at �.
C����� L��� D���� T������ L��-���� (S������ �)
F�������.—Te trousers have had the crease pressed C���� ��� R�����.—I on the right side only, the in its correct position and in accordance with the cut o probable cause is that excessive “dress” has been taken the trousers, yet, when on the figure, it runs in towards out. I on both legs, the trouble must be attributed to the leg-seam at the bottom. insufficient seat angle. o remedy: Bring in the seat-seam at the top at � and run out into ork at �. Let out side-seam and compensate or the size lost, as shown at � and �. Tese adjust the “run.” P������� �� F���� �� T����� (S������ �)
F�������.—Tis deect is chiefly noticed when C���� ��� R�����.—Tis deect is requently sitting. Te topsides are drawn tightly over the thighs noticed in American-cut trousers that have a very hollow and creases run rom the ork along the groin. seat run and a limited amount o seat angle. Tis type o cut demands an extra large ork, and a deficiency in this quarter is the most likely cause o the above deect. o remedy: Let out the ork o undersides to the ull extent o the inlay as shown at �, �, and �, hollowing a little rom � to �. D���� ���� F��� �� K��� (S������ �)
F�������.—Creases run rom ork to knee when sitting.
C���� ��� R�����.—Tis is due to insufficient ork or seat angle. Let out as shown at �, and alter seat as � and �, � and �.
ALERAIONS�HEIR CAUSE AND CURE
DIAGRAM 54.
���
���
GENLEMEN’S GARMENS WAISTCOATS
Diagram �� W������� �� S������� (S������ ��)
F�������.—Tis is a trouble that appears with great C���� ��� R�����.—One o the misleading requency. Te creases run rom the side o the neck at Features about this deect is that the direction o the shoulder-seam to hollow o the shoulder. Te neck the creases appears to denote a shortness in ront is uncomortable. shoulder. Te remedy or this has ofen been tried, but without success. Te trouble is due to either one or a combination o the ollowing: narrow back neck, too straight a shoulder, or a short back balance. Te first error does not provide sufficient neck diameter ; the second does not provide sufficient length to the top button, and a short back balance is responsible or a shortness rom the neck round back scye to ront scye, which draws the orepart shoulder against the bone. Te remedy or the back neck is shown by dotted lines at � and �, the orepart being reduced as shown at �. o make the shoulder more crooked, take a piece off as shown at � and add on at �, Section ��A. o lengthen back balance, take a piece off top o side-seam, as shown at �, Section ��B. G����� O��� �� N��� (S������ ��)
F�������.—When astening up the buttons, those at the waist appear a little tight ; when astened, the neckopening gapes very badly.
C���� ��� R�����.—Te ault here is a shoulder that has been cut too crooked, the trouble being made more pronounced by shortness in the back section. o remedy: Straighten the shoulder as shown by dotted lines at � and �, and pass the back up at the sideseam by clearing top o back as shown at �.
T���� �� T�� B������ (S������ ��)
F�������.—Difficulty is experienced in astening up the ronts ; when astened, there is a pronounced drag across the oreparts over the chest.
C���� ��� R�����.—Te waistcoat may have been cut too small in the first instance. I this is not so, then there will be ullness at the top o the side-seam. o remedy: Let out the side-seams all the way down, as shown by dotted lines at � and � ; this may o course mean a new back. ake a piece off the neck as shown at �, and make the shoulder narrower by reducing the shoulder-seam o back at �.
ALERAIONS�HEIR CAUSE AND CURE
DIAGRAM 55.
���
GENLEMEN’S GARMENS
���
Diagram �� T�� H��� �� N��� (S������ ��)
F�������.—Te neck o the C���� ��� R�����.—Te cause o the trouble is the excessive slope waistcoat may show above the coat given to the shoulder. Te shoulder ends are binding on the figure and will at the sides ; on the other hand, the not allow the neck to sit properly. excess length may be crushed down o remedy: Let out the shoulder end o back part, where the inlay usually into olds around the base o the lies—as shown by dotted line at � and �. Sink the orepart neck rom � to �. linen collar. D������� A����� F���� W���� (S������ ��)
F�������.—When the waistcoat has been worn once or twice, urrows appear across the waist. Tere is also a strain on the lower buttons.
C���� ��� R�����.—Tis is due either to aulty distribution o the waist measurements, or the back balance is too short. For the latter cause one must expect urther symptoms in the shoulder region. I it is the back balance, then lengthen by lowering scye at sideseam at �. I more size is required at the ront, let out at � and take in the back waist at � to �. Let out the side-seam as the dash line rom � to �. Adjust length.
B������ �� F���� �� S��� (S������ ��)
F�������.—When the wearer C���� ��� R�����.—Te ault here is a too long ront balance. I the is seated, this deect becomes very ronts were unastened, they would swing back into the scye. pronounced, a deep old orming o remedy: Either take a piece off the shoulder, as shown at � and �, across the ront and the opening dotted lines, or pass the orepart down on the sideseam, as shown by points gaping badly at the base. � and �. Adjust bottom length. N��� C������� U���� C����� (S������ ��)
F�������.—Tis makes the waistcoat very uncomortable ; no matter how requently the wearer adjusts the neck, the edges o the oreparts eventually find their way under the linen collar. Tis deect is very prevalent with long-necked people.
C���� ��� R�����.—I the neck appears low all the way round with practically no collar stand, then the shoulders have not sufficient slope or the figure. o remedy: ake in the shoulder ends as shown at � to � and � to �, and lower the scye a little at � and �, Section ��. I the back balance is short and the neck is low behind at the collar stud, the linen collar will soon ride over the edge o the waistcoat. Te remedy here is to pass the backs up on the side-seam, as shown previously at � in Section ��. Another requent cause is insufficient neck diameter, which is chiefly brought about by a badly cut neck-band. Tis should be cut straight without any inward curve, as shown by dotted lines at � and �, Section ��A.
ALERAIONS�HEIR CAUSE AND CURE
DIAGRAM 56.
���
���
GENLEMEN’S GARMENS Diagram �� W�������� ��� S���� �� L����� (S������ ��)
F�������.—It occasionally happens that a customer R�����.—It is understood that the cutter wishes to complains about his waistcoat being too short. With save the expense o new material. I the waistcoat is in the present vogue o straight-bottom D.B. waistcoats, the try-on stage and there is ample inlay at the base o this may easily occur. the back, no extra expense need be incurred ; but i this is not so, then another length o back lining will have to be used. It is much better in making the alteration to re-cut the pattern as ollows: take the old back and lengthen the balance by dropping the sideseam as shown at �, dotted lines. Next, give a similar amount o length to the ront by adding a piece across the shoulder, as at � and �. D���� W�������� L���� �� ��� O������ (S������ ��)
F�������.—Te general complaint in dress waistcoa C���� ��� R�����.—Whilst this is due partly to the ts is the looseness at the opening when the wearer is very long and open neck that is given to these waistcoats, seated. the deect could be a voided by giving a longer back balance than usual, and also by taking the precaution to tighten the edge. o the opening by cutting the orepart across as shown in the diagram and overlapping the ront at � to �. Tis will open the scye ront a little at �, but this could very well be taken away in a small dart rom � to � ; or the panel method could be adopted, as indicated on the diagram and as described elsewhere in this volume. o lengthen the balance. extend the back at �, �, and �. L���� �� T�� �� S���-���� (S������ ��)
F�������.—When the waistcoat is tried on. the top C���� ��� R�����.—Te cause o this deect is o the side-seam appears too large. Te ronts at the an oversuppressed side-seam. o take in the top o waist show a little tightness on the buttons. the side-seam would make the waistcoat tight round the chest. Te correct remedy is to let out the waist as shown by dotted line � to �, and take in a corresponding amount at the back at �. L���� �� L���� B������ (S������ ��)
F�������.—Tere is a distinct drag on top button and the lower ones are too loose.
C���� ��� R�����.—Te waistcoat has been cut too “straight” in the shoulder. o rectiy: Alter as dotted lines at � and �. I there is no inlay at the scye at �, a narrower shoulder will have to be given and the back adjusted to correspond. ake in a little at the side at �.
ALERAIONS�HEIR CAUSE AND CURE
DIAGRAM 57.
���
���
GENLEMEN’S GARMENS COATS
Diagram �� C��� ��� H��� �� N��� (S������ ��)
F�������.—Tis deect is a very unsightly one, giving as it does a sloping appearance to the shoulders. Creases will be observed round the neck under the all or lea-edge o the collar, but more pronounced at the back than at the sides.
C���� ��� R�����.—Te trouble lies in the shoulder slope, which is in excess o what the figure requires. I the shoulder has a cramped appearance over the bone, then the scye ends have been unduly depressed. Te alteration or this is shown by dash lines at � and �. On the other hand, too much neck height above the shoulder-level may be the cause. Te remedy or this is shown by dot-and-dash lines �, �, �, and � to �. Sink the back at � a little more than the ront at �.
C����� L�� ��� S������� A��� ���� B��� N��� (S������ ��)
F�������.—Tis is a deect that could well be illustrated by putting a normally cut coat on a man with rather sloping shoulders and a decided orward carriage o the head. Te collar does not reach its prescribed position on the linen collar—requently exposing the collar-stud.
C���� ��� R�����.—Tis deect can be attributed to a shortness in the back length or “balance,” together with a too-square cut shoulder. o remedy a coat that is in the making, the sideseams will have to be ripped open and the backs passed up, as at � and �. When point � meets �, the back part will extend above the orepart at �. Te contour must be adjusted. ake a piece off shoulder end at � to nothing at the neck.
N��� ��� L�� A�� R���� (S������ ��)
F�������.—In this deect the collar is too low all the C���� ��� R�����.—Tis will most likely occur on way round. men who are long in the neck and sloping shouldered. o remedy, take a plece off the shoulder end, as dotted lines at � and �. Deepen the scye a similar amount, as shown at � and �.
ALERAIONS�HEIR CAUSE AND CURE
DIAGRAM 58.
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GENLEMEN’S GARMENS
���
Diagram �� E����� L����� B������ B����� (S������ ��)
F�������.—Tis deect is C���� ��� R�����.—With the present vogue o closefitting hips, this requently seen in coats worn by the may have been overdone. Te hips should thereore be examined and, i military type o man who carries necessary, the side-seam must be let out. Another and perhaps the most his head well back and has a very requent cause is a too long back balance. o remedy-pass the back down prominent seat. Te back appears to on the orepart at the side-seam as shown at � and � ; or, i preerred, shorten nde on the hips, and between the blade across the top as shown by dotted lines �, �, and �. I adopting the ormer, bones horizontal bulges o surplus lower scye as at �. length are to be seen. Te whole back section will appear unsettled and the collar may be too high. H��������� F��� �� B��� S��� (S������ ��) F�������.—Te trouble here is C���� ��� R�����.—Te cause here is too much scye room, especially a certain amount o excess length in height. Te shoulder slope is not steep enough or the figure, and with which lies in little easy olds at the the sleeve in the excess is drawn down to the back scye. base o back scye. o remedy: ake a piece off the scye end as shown at �, running out to It is particularly noticeable when nothing at �. Drop back pitch at � hal the amount o the adjustment, and the wearer is reaching orward. reduce sleeve crown as per dash lines at �. Te coat is the very essence o comort. D������� F��� �� B��� S��� (S������ ��) F�������.—Tis old runs C���� ��� R�����.—Te trouble is due to suppressing the side-seam diagonally rom the corner o the waist too much in order to obtain a waisty effect. Te extra indent should back scye to the blade prominence. come in the centre o back and not at the sides. It is best observed when the sleeve o remedy: Bring in the back at the centre and let out either on the has been ripped out. orepart or on the back side-seam, as shown by the dotted lines in each case. An alternative plan is to cut the pattern across at �, to use that point as pivot and swing the pattern orward at the top, as shown by the dotted lines. Te pattern is overlapped at the black portion and a wedge is inserted at the shaded part, the effect being to shorten the back scye contour and to give added length to the upper part o the centre back. Length is thus given to the entire back balance. in the direction indicated by the dash-line arrow. Such an adjustment can be made when cutting or a roundbacked figure. when the roundness is actually in the centre back ; it may be supplemented by wadding in the area shown by the short lines in ront o �. S�������� ��� W��� (S������ ��)
F�������.—Scye-seam extends over the arm, a deect requently seen on short-necked and stout figures. Back scye not affected.
C���� ��� R�����.—Tis can be attributed to the steep run given to the back shoulder-seam, which makes the shoulder o orepart much wider. o remedy: Raise the back shoulder end as at �, and take a similar quantity off the width at �. Readjust the length o ront to compare with the back, as at �. Te guide line, �–�, will help in the matter o preserving the correct run o back scye.
ALERAIONS�HEIR CAUSE AND CURE
DIAGRAM 59.
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���
GENLEMEN’S GARMENS Diagram �� D������� C������ ���� ��� B����� (S������ ��)
F�������.—Tese creases run diagonally across the back scye, near the blade bone, as shown in diagram. Other symptoms are: hanging away at back waist and a tightness or drag on the waist button.
C���� ��� R�����.—Te creases denote a shortness in the direction in which they run, thereore it can saely be stated that the back balance is short. o lengthen, pass the backs up on the oreparts at the sideseam as shown by balance marks � and �. Clear the scye at �. An alternative method would be to shorten the orepart right across at � and �, and sink the armhole to compensate, as at �.
F������� �� S��� F���� (S������ ��)
F�������.—Te scye is comortable, but bunches C���� ��� R�����.—Tis trouble is due to a too o material are gathered near the ront in the region o straightcut shoulder ; in other words, the distance the sleeve pitch. Tere is also a tightness on the upper between the ront o scye and the neck line is too great. buttons and also a slight uneasiness at back scye. o remedy, let out the scye inlay o the shoulder as shown by dotted lines at � and bring the neck-point back at � to make the shoulder-seams correspond. D������� C������ ���� N��� �� F���� S��� (S������ �� )
F�������.—Tese creases or drags run rom the side C���� ��� R�����.—Te drags denote a shortness o the neck to the orearm pitch. Other symptoms are: in the direction in which they run. It can thereore be an uncomortable armhole, a lifing up o the ronts, saely concluded that the ront shoulder is too short. In and a closeness over the hip region at the back. order to remove the trouble, let out the neck inlay to nothing at the shoulder end, as shown by dotted lines � to �. Failing an inlay at the neck, the sides can be passed up on the backs as shown at � and �, and a small piece taken off the shoulder end at � (dash lines). T���� �� S��� ��� ��� C���� ���� B����� (S������ ��)
F�������.—Te back in this instance is too closeC���� ��� R�����.—Te shoulder is much too fitting, and will not allow or the expansion o the “crooked,” and requires straightening, as shown by muscles when the arms are brought orward. Te scye dotted lines at � and �. I there is no inlay in the neck, is uncomortable when reaching orward, and drags the resh oreparts will be required. sleeve across the muscle o the arm.
ALERAIONS�HEIR CAUSE AND CURE
DIAGRAM 60.
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���
GENLEMEN’S GARMENS Diagram �� C������ ���� B��� N��� �� S�������-���� (S������ ��)
F�������.—Tis is one o the commonest and most tantalising deects with which the trade has to contend. It requently happens that when the coat is tried on the shoulder is clean. Yet, when finished, a series o ripples develop across the shoulder-seam and the coat does not fit into the hollow o the shoulder as it should.
C���� ��� R�����.—Although there are many subsidiary causes. the chie ault lies with the shoulder size. I the shoulder end is ripped whilst the coat is on the customer, the creases will disappear and the orepart will fit into the hollow o the shoulder. Te chie remedy then is to let out the shoulder ends as shown at � and �. sinking the oreann o sleeve, as at �. I the shoulder is too crooked. this will contribute ; as also will a back neck section that is not wide enough. Alter or the ormer as dotted lines � and �. Section ��A, and or the latter as � to �, Section ��B.
F����� F������ A��� (S������ ��)
F�������.—When the coat is unastened. the ronts C���� ��� R�����.—Te coat is obviously out o all back to the side and the scye-seam on to the arm. A balance. the ront being much too long. most discomorting deect. o remedy: ake a piece off right across the orepart shoulder. as shown by dotted lines at � and �. and sink the scye a similar quantity at �, dropping sleeve pitch accordingly. L���� R������ ��� L�� (S������ ��)
F�������.—Te lapel insists on rolling lower than C���� ��� R�����.—Tis trouble emanates rom the position intended. Frequently the whole ront is the workshop, which the garment should never. have turned back and the acing exposed. lef in this condition. Te ault lies with the collar. which has a too round sewing-on edge. o remedy: Cut a new collar, giving greater length to the outer edge and a straighter run to the sewing edge, as dotted lines at �, �, and �. F����� ���� ��� M��� (S������ ��)
F�������.—Without a great deal o tugging, the C���� ��� R�����.—Tis may very well occur on ronts will not come sufficiently orward to provide an a man who is large in the chest, and the ault is due to overlap or the buttons. Te coat is ull to measure, but cutting a too straight shoulder. In order to bring the the size remains in the back section. excess material at the back orward, the shoulder will require crookening. as shown by dotted lines at � and �. Te quantity thrown on the ronts is shown rom � to �. Te gorge will be reshaped into �. I the coat is on the small side, the side-seam can be let out as shown at �.
ALERAIONS�HEIR CAUSE AND CURE
DIAGRAM 61.
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���
GENLEMEN’S GARMENS Diagram �� C����� �� F���� �� S��� (S������ ��)
F�������.—Tis deect is quite a common one, and C���� ��� R�����.—Te cause o this trouble is generally appears afer a coat has been in wear or a insufficient shoulder room, and is generally brought time. Te scye is uncomortable, and there is a certain about by constantly nipping up the shoulder ends. amount o pressure on the shoulder-bone. o remedy: Let out the inlay at the orepart as shown rom � to �. I there is no pressure on the shoulderbone, then the trouble is due to insufficient distance rom centre back to ront scye. In this case let out sideseam at �. C�����-R�� G����� O��� (S������ ��)
F�������.—Tis occurs when the ronts are buttoned, the crease-row showing excess length and standing out rom the figure. Te deect is very pronounced when the wearer is seated. When unastened, the ronts swing away at the bottom.
C���� ��� R�����.—Tis can be caused either by a too long ront balance accompanied by a closeness over the shoulder and a crooked shoulder, or aulty distribution o the waist size. For the ormer, alter as per points �, �, and �, taking out a small vee at gorge as shown at �. Where too much has been taken out o the side-seam, alter as shown on Section �� (Diagram ��).
C����� L�� �� S��� N��� (S������ ��)
F�������.—Tis is a deect which sometimes escapes the customer’s observation, but it spoils the look o the ronts and should thereore be altered. At the shoulderseam the collar is all right. It is at the top o break seam where the trouble lies.
C���� ��� R�����.—I the r the neck, this will have to be adjusted as shown at point �, dotted lines, and a new collar cut. (Te other cause is a short back balance, which does not allow the coat to come orward on the figure properly.) It will be realised that the extension o the lapel width, which should be made, is not possible t� a finished coat. o remedy the short back balance: As dash lines at �, �, and �—or pass the back up on side-seams, as � and �.
C��� L������ W��� A��� ��� R����� (S������ ��)
F�������.—Te wearer in this instance finds it extremely difficult to raise his arm. Te coat hangs on the muscle o the arm when reaching upward and causes the sleeve to drag very badly. When astened, the body part rides up on the figure.
C���� ��� R�����.—Tis is due either to a too deep scye or a badly cut sleeve. Te ormer can be ascertained by placing the hand under the armpit, and should be remedied by lifing the coat bodily as shown by dotted lines at �, �, and �, �, �. I the sleeve is the trouble, then it has been cut too hollow and requires straightening as shown at �. Points � and �� show the necessary alteration to the pitch and sleeve afer the shoulder has been adjusted.
ALERAIONS�HEIR CAUSE AND CURE
DIAGRAM 62.
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���
GENLEMEN’S GARMENS Diagram �� T���� S����
F�������.—Although the old adage that “a tight scye is elt rather than seen” is true in some respects, that is no reason why we should await complaints rom a customer beore deciding that a scye is uncomortable. When a scye is really tight, there are, as a rule, sufficient symptoms in attendance to convey the act, and by the character o these the fitter should be able to ascertain the cause. When a scye is tight, either the circumerence is too small or its position (vertically or laterally) is wrong. Te degree o tightness may also be affected by the disposition o the neck and shoulder section. C���� ��� R�����.—Te ollowing are some o the chie contributors: Insufficient Front Scye Distance (Section ��A) What is meant by the above is that the distance rom the centre o the back to the ront end o the armhole is not great enough or the figure. Tis requently occurs in muscular men, and one o the worst possible things to do in the circumstances is to hollow out the scye. Te correct remedy is to let out the side-seam as shown at point �. Failing that, advance the shoulder and scye as outlined by �, �, and �. Scye not Large Enough (Section ��B) Te symptoms attendant on this cause are: A small old at the scye ront, pressure on the shoulder-bone, and slight uneasiness at the crease row o lapel. Te ault is a too depressed shoulder end, and can be remedied by letting out the orepart inlay, as shown at � and �. Te back pitch will require raising slightly at � and the sleeve dropping at �. Short Front Shoulder (Section ��C) Where the tightness is due to a shortness rom the ront o scye to the neck, it will readily be discerned. Te shoulder will show a diagonal crease, and the hip section will fit rather closely. A combination o this ault and that mentioned under Section ��A is most painul. o remedy: Let out the shoulder inlay as shown at �. Whether the shoulder end at �� is let out depends upon the condition over the bone. Shoulder too Crooked (Section ��D) I this is the cause o the trouble, a distinct drag will be noticed over the blades at the least movement o the arm ; the over-crooked shoulder producing a shortness rom the neck along under the scye to the back centre-seam, as shown by arrow line at ��. o remedy: Straighten the shoulders as shown at �� and ��. o hollow out the scye, as some cutters do as an alternative, will absolutely “kill” the coat.
ALERAIONS�HEIR CAUSE AND CURE
DIAGRAM 63.
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GENLEMEN’S GARMENS
���
OVERCOATS
Diagram �� O������� D�������� �� G�� O� (S������ ��)
F�������.—Tis very annoying deect is one which the customer is bound to resent. Te coat presents a reasonable appearance when on, but it takes an effort to get it well “home” on the shoulders.
C���� ��� R�����.—With the ordinary annhole the cause may be a cotton or inerior sleeve lining, which is inclined to cling to the sleeve o the jacket being worn underneath. I this is the case, substitute an artificial silk or similar material. Te trouble is, however, more ofen due to a close shoulder section, or overcoats will take any amount o scye room. Tis can be remedied by letting out the shoulder as at �, and passing the back up a little, as shown at � and �. In some cases it may be better to “nip” the ront shoulder, as at � ; or to square the back neck as at � and �. I the latter course is adopted, the collar-stand should be made deeper. Te back may be passed up in the same way, because the lack o room is in the shoulder region-not the neck.
B���� H������ B��� �� R����� (S������ ��)
F�������.—Te backs o Raglan or Sac overcoats requently hang in an inelegant series o olds rom the blades and at the centre o back, instead o being nicely draped at the back scye and onning the so-called “box” effect.
C���� ��� R�����.—Te ault is partly bad cutting, but i this is remedied, it must be backed up by intelligent manipulation on the part o the workman. Te correct procedure is as ollows: ake the old back and swing it in rom the blades �” to �” at the bottom �. Let out the sides �” at � and give a little extra at the top at �. Have the back scye drawn in well at � (wavy line). Te “swing” may be applied by cutting or olding the pattern, as indicated by the black portion at �–�, the pivot being made at �.
R������ �� C����� �� R����� S����� (S������ ��)
F�������.—Te sleeve has rather a cramped appearance, and little creases run horizontally across the centre-seam o the sleeve at the shoulder end.
C���� ��� R�����.—Te figure has evidently rather square shoulders and the distance between the “horns” in the sleeve draf is insufficient. o remedy: Let a wedge in the pattern as shown at � and �. Tis has the effect o opening the “horns,” as shown by dotted lines at � and �.
R����� S����� B������ �� C�����-���� (S������ ��)
F�������.—Te centre-seam in this instance bulges out in an unsightly ashion at the shoulder end.
C���� ��� R�����.—In this case the “horns” are too ar apart ; the figure apparently being small in the shoulders and sloping. Te remedy is the reverse o Section ��, a wedge being taken out as shown at � and �. Te altered position is outlined by dotted lines at � and �.
C����� C����� �� F������ (S������ ��)
F�������.—Te sleeve does not hang nicely, a crease orming at the top o the orearm-seam.
C���� ��� R�����.—Tis is due to insufficient hollowing o the ront diagonal seam. Te remedy is shown by dotted lines at �, where the ront is scooped out more. Let out a little at �.
ALERAIONS�HEIR CAUSE AND CURE
DIAGRAM 64.
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GENLEMEN’S GARMENS
���
BODY�COATS
Diagram �� P����� G����� (S������ ��)
F�������.—Te back pleats, instead o hanging parallel with the skirt pleat, swing open towards the bottom. Te side o the skirt will ruck up a little below the waist-seam.
C���� ��� R�����.—Te ault is either due to a short ront balance or insufficient spring to the skirt. I the ormer, there will also be trouble at ront scye, and the remedy will be to let out the inlay at neck as shown at � and �. Te remedy or the skirt is to give more spring as shown at � and �, dash lines, or take a piece off back as � and �.
P����� O���������� ��� M��� (S������ ��)
F�������.—Te waist section is all right in this instance, but the pleats overlap more at the base than is intended.
C���� ��� R�����.—Te cause o this trouble is too much spring at the back o skirt. o remedy: ake a piece off as shown by dotted lines at � and �, or round the waist-seam as per dotted lines at � and �.
F������� �� B���� S��� (S������ ��)
F�������.—Te coat appears all C���� ��� R�����.—Te cause here is over-suppression o the blade right in the waist and neck region, seam at the waist. Tis must be let out as shown at � and �, dotted lines. yet over the blade-bones on the I the waist is now big to measure, the reduction can take place at the curved seam there is looseness. underarm seam, as shown by line � to �. It is not a wise policy to reduce the round over the blade by taking a piece off as shown at �. Section ��A. Tis is ofen detrimental to the fit round the chest and neck section. H������ A��� B���� ��� B����� (S������ ��)
F�������.—Te back section C���� ��� R�����.—I the ront swings away, then the cause is a too hangs in a shapeless ashion below long ront balance, and the orepart wlll have to be shortened across as the blades. Te waist is nowhere shown at � and �. I, however, the figure is prominent in the blades and flat near the figure and the pleats in the seat, then there is insufficient indent in the back. tend to overlap. o remedy: ake in the side-body as shown at � and � and add a little on ront waist at �. Strike the new contour o the ront edge down at �, as shown by dash lines, and re-draw the crease line, as indicated. In cases where the back balance is short generally, the back and sidebody may be passed up on the orepart slde-seam in the customary manner. urnings lef at the bottom o back and side-body (see Diagram ��, Sections F and H) will be utilised or length adjustment.
ALERAIONS�HEIR CAUSE AND CURE
DIAGRAM 65.
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���
GENLEMEN’S GARMENS SLEEVES
Diagram �� D������� C������ ���� C���� (S������ ��)
F�������.—In this deect diagonal creases run rom C���� ��� R�����.—Te creases denote a shortness the crown towards the ore and hindarm. Te under- rom the crown, the whole sleeve being drawn up. Te part o the sleeve near its sewing-point is very ull and term “crown” as it applies to the sleeve is the amount o unsightly. As ar as ease goes, the sleeve is excellent. round given above the line connecting ront and back pitches as shown at � and �, Section ��A. Te remedy can be carried out either by taking a little off each side o the sleeve as shown at � and � on Section ��B dotted lines, or by lowering the orearm at �, Section ��C, and raising the back pitch to agree ( �). S����� H���� ��� F�� B��� (S������ ��)
F�������.—Te accepted position or the hang o C���� ��� R�����.—Te usual. remedy is to swing the sleeve when the coat is held over the hand is midway the pitches in the coat round a little ; but this is apt to across the pocket. In this case it hangs too straight. expose the orearm seam too much. Te sleeve is best When on the figure it rides up on the orearm with the altered as shown by dotted lines at � and �. least orward movement o the arm. S����� H��� ��� F��� (S������ ��)
F�������.—Tere is ar too much ullness in the C���� ��� R�����.—Tis may be due to badly cut sleeve-top ; although a little is essential, the workman sleeves. It also may be the result o an altered shoulder cannot get it all into the scye without pleating. afer a try-on. o remedy: Either reduce the sleeve as shown by dotted lines at � and � ; or, i the shoulder has been altered, drop the pitch at the back as shown at �. I the circumerence ‘between the pitches on the coat was taken and applied rom � to �, this difficulty would not arise. D������� W��� A��� ��� R����� (S������ ��)
F�������.—When the anns are raised to the head or in an upward direction, the body part is drawn unduly out o position and the sleeve drags over the ann.
C���� ��� R�����.—I the annhole is not too deep. then the cause o the trouble is a too hollowed under-sleeve. o remedy: Reduce the sleeve at the hind and oreanns as shown by dotted Jines at � and �, and straighten out to the centre at �. Te length will have to be increased to compensate.
ALERAIONS�HEIR CAUSE AND CURE
DIAGRAM 66.
���
GENLEMEN’S GARMENS
���
Diagram �� F������� �� ��� H������ (S������ ��)
F�������.—Tis is one o the most common deects, and one o which customers most requently complain. When the ann is at the side. estoons o surplus length congregate below the back pitch o sleeve.
C���� ��� R�����.—A little o this is essential or the ree action o the anns, but i overdone it is a sign o bad cutting and also bad workmanship. Te cause o the trouble is excess hindann length, badly hollowed undersleeve, and insufficient ullness below pitch. o remedy: Lower hindarm as shown rom � to � on top side and � on underside. Section ��A. Hollow under-sleeve well at �, and see that it is ulled on in the region o wavy line.
S����� T���� O��� M����� �� A�� (S������ ��)
F�������.—When the ann is down at the side the sleeve may appear perect, yet as soon as the ann is brought orward, the sleeve is drawn tightly over the muscle and the oreann rides up. Te coat is also dragged out o position.
C���� ��� R�����.—Tis is a most conusing deect, because it has so many possible causes. Te sleeve itsel may not be at ault, or any o the ollowing deects in the body part may be responsible: short back balance ; too crooked shoulder ; insufficient distance rom back to ront scye, and a too deep scye. As regards the sleeve: the under-sleeve may be too hollow or the orearm point too low—which results in a narrow topside sleeve. In the onner case the remedy would be to straighten out the hollow as dotted line rom � to �. But in the latter, a new sleeve is essential, altered as shown by points � and �. Section ��A. In any event, a little longer back balance provided as shown by points � and �, Section ��B, would be beneficial. C���� ��� H��� (S������ ��)
F�������.—In this instance the sleeve appears narrow across the summit and small horizontal creases onn below the wadding.
C���� ��� R�����.—Te ault here is too much crown height, and unless there is an inlay down hindann o top-hal, it will mean a new sleeve. Remedy as shown by dotted lines at � and �.
F���� S��� ��� F������ �� C��� (S������ ��)
F�������.—Te oreann seam C���� ��� R�����.—Tis usually occurs when the sleeves have not comes round too much to the ront been put together airly, or it may be due to the undersleeves being cut with o the ann at the cuff. less curve than that o the top-hal above and below the elbow. o remedy: ake a piece off under-sleeve as shown at � and �, and let out the hindann seam to compensate at �. N��� �� S����� A����������
It should be remembered that in all cases where sleeves are altered by sinking the top o oreann, an adjustment o length must be effected at the bottom.
ALERAIONS�HEIR CAUSE AND CURE
DIAGRAM 67.
���
GENLEMEN’S GARMENS
���
STYLE DEFECTS TO AVOID
HE our sections shown here (Diagram ��) are intended to illustrate certam aults which are requently ound in firushed garments. Tey are, in the main, aults o tailoring rather than o cutting ; but the cutter can give some help and guidance in the matter o their prevention. S������ �
Here is a orm o exaggerated shoulder squareness, seen ofen in jackets and overcoats. Te shoulder points have been stretched upwards by careless use o the iron—and they may have too much padding in them. At � a very unsightly appearance is produced, whilst at � the sleeve crown has the effect o being too shallow—it has been dragged up to meet the distorted shoulder point. A better line is suggested by the dash line, which will give a more natural shoulder slope. In this matter, the cutter should instruct the tailor to avoid clumsy insertion o pads or wadding. On his own part, he should be sure that there actually is enough crown height in the sleeve. At point � indication is given o a aulty location o the underarm dart. It may be too ar back and its suppression has been carried higher than necessary or good style. Tough it is not tasteul to have too marked a waist or present-day semifitting garments, a certain amount o localisation will improve the general appearance. Care should be taken, when marking out the darts, to see that the main point o suppression is situated in the waist line—whether it be relatively high or low. S������ �
Here is shown the reverse o the previous style ault. Te shoulder has a blunted and round appearance, and the sleevehead seems to be squashed down, causing the surplus shown at �. In this case the padding (i any has been inserted) ails to give any support to the shoulder ends. Such an effect can be produced by heavy pressing o the completed garment ; the only way in which to rectiy it is to rip out the shoulder-seam and the sleeve-head and have them re-shaped and resewn—a difficult and costly procedure. Te dash line shows the correct contour. Te slope down rom � to � may be caused by the cutter s having pinned up too much at the fitting ; It could also be caused by a too low crown on the sleeve. When such a sleeve is put in it tends to pull the shoulder point down. S������ �
Te direction o the shoulder-seam at � is at ault ; it tends towards the back scye instead o towards the ront. Tere would probably be a “dirty” back scye in a coat with this deect. ailoring is most likely at ault here, the back scye not having been steadied ; or the shoulder-seam having been pressed open without due care. Again, i rectification is to be made the shoulder-seam will have to be unpicked and a new run marked out. Mere “nipping” o the point will not be effective: more likely than not, it will produce a blob in the middle o the shoulder-seam. S������ �
Tis is a device which some cutters ask the tailor to adopt—it will help to prevent the trouble just described. A narrow piece o linen (about ½” wide) is basted at the upper part o the ront scye, as shown ; it is put on just tight . When the sleeve is sewn in, the linen is caught in the seam. Te location o this linen is indicated at � ; it will orm a stay or both ront and back scyes, and will help very much towards getting a clean finish at those parts. Notice that it does not extend into the shoulder-seam.
ALERAIONS�HEIR CAUSE AND CURE
DIAGRAM 68.
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C������ XIX
GENLEMEN’S GARMENS WES END MODELS By R. J. PESCOD (Messrs. Adeney & Boutroy, Sackville Street, W.1)
HE West End o London has long been regarded as the centre o male style and ashion. Te ollowing drafs are typical o the best products o that centre. Tough they are arranged in systematic orm, it is not system, as such, which constitutes their value in a work o this kind. Teir lines and style eatures are the things which it is desired to emphasise. Te Editor is grateul or permission to reproduce the drafs here. It is no exaggeration to say that West End style and crafsmanship are very widely known or their distinctiveness. On them is set the hall-mark o English tailoring excellence. Te long history and ame o many leading West End houses, influencing people in every country where good clothes are recognised, have given London a unique position in the sartorial world. At one time it was not difficult to distinguish the difference between a good suit made in the West End and a good one made elsewhere. Tough both products might show artistic design and good crafsmanship, there was that something about the West End suit which at once bespoke its superiority. Nowadays, the distinction is not so definitely marked, or style eatures and workmanship that were once exclusive to the West End are discernible in many o the clothes made in other parts o London, and in the Provinces. Yet there is a difference—difficult as it is to define. Tere is a subtle quality about the suit which emanates rom the West End today, which sets its seal upon the place o its origin as the indisputable Mecca o good tailoring.
OUSIDE AND INSIDE A FAMOUS WES END HOUSE.
A WES END COA WORKROOM, SULLIVAN, WILLIAMS & CO.
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GENLEMEN’S GARMENS
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T�������
Diagram ��
HIS draf depicts the lines o a stylish pair o trousers with pleats, and p.t.u. Te widths o thigh, knee, and bottom are not excessive, but the general effect is easy.
M�������: ��” iside-seam; ��” leg; ��” waist; ��” seat; ��” bottom.
Working scale is ½ Seat—��”. I����������� ��� D������� T������
U��������
Draw construction line �–� and mark off � to I. the leg length plus ¼”. and � to � hal this amount plus �”. � rom � is ⅓ scale; square out. � rom � is �”. Part o the pleats allowance is inserted on this point—indicated by the dotted line struck rom � through �. � rom � and � rom � are each �⁄� scale, and are squared rom � by the dotted line. Square up rom � to �—the rise, less width o waistband required. � rom � is the same as � rom �; draw a line to connect � and �. � rom � is ¼ waist plus pleats allowance and two seams. � rom � is �½”; curve the all rom this point to �, as indicated. �� and �� are each ¼ o bottom rom �. Draw the leg-seam. �–��. and the sideseam, �–�–��. Te latter runs straight rom � to bottom. Mark the pleats as shown—the ront one is �¾” deep and the other is �¼” deep. ake out “dress” as dotted lines.
For the ork, continue the line �–�–�; or the knee, square rom � to the side-seam. and rom the dotted line at � or the leg-seam. �� rom � is ⅛ scale less ½”; �� rom � is �⁄� scale less ½”. Te point �� is dropped ¼” below the line. Draw the seat-seam rom �� to ��, curving exactly into the topside run;complete the leg-seam as indicated. Place one arm o square on the seatseam, and let its angle all on ��, the other arm locating ��. Te latter point is fixed afer the waist has been measured up in the usual way, with due allowances made or seams and a vee. Make a slight “spring” at ��. Draw the side-seam rom ��, ½” clear o �, running into the topside, as shown. Complete the draf.
DIAGRAM 69.
WES END MODELS
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S.B. W��������
Diagram ��
HE noticeable eatures o this draf are the narrow shoulders, deep armhole, and rather long points. A backstrap is illustrated, but this is requently omitted-a dart being taken out at each hal-back. M�������: ��½” opening; ��” length; ��” chest; ��” waist.
Working scale is ½ Chest—��”. I����������� ��� D������� Square both ways rom �. � rom � is ½ scale plus ½”. � rom � is the natural waist (½” higher than ashion waist o lounge). � rom � is �¾”; �X rom � is �”. Draw the back-seam, �–�–�–��. as indicated; “spring” out a little opposite �. � rom � is �⁄� scale; square up ¾” to �. Square out rom � and �. � rom � is ½ scale less �”; �� rom � is the same. Mark in rom � about �¼” and slightly less rom ��.
Place � at �” above the line squared rom �. Draw the back shoulder-seam rom � to �. � rom the back-seam at � is ¼ chest plus ¾”. �� rom the back-seam at � is ⅔ scale. �� rom �� is �⁄� scale plus �”. �� rom the back-seam at � is ½ chest plus �”. Square up rom �� to ��; drop ¾” to �� or the neck-point, “springing” out ¼” as shown. Draw a line rom �� to ��; on this line mark the orepart shoulder-seam at ¼” less than the back. locating point �� ¼” below the line.
DIAGRAM 70.
Mark up �½” rom �� to � and �½ rom � to �. Draw the ront o armhole rom is to � and round to ��, which is ½” below �. Square down rom � and make �� on this line �⅜” below �; shape the back o armhole rom � round to ��. �� rom �� is ¼ waist plus ¾”. Square down rom �� to �� and make �� rom �� on waist line ¼ waist plus �½”. Measure the opening and length in the usual way; check up side-seam lengths and complete draf.
GENLEMEN’S GARMENS
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S.B. L����� J�����
Diagram ��
HE lounge jacket shown here is modelled on lines which give it a graceulness o outline whilst producing effects that will make or comort in wear. Te style is button-two, with long-rolling lapels and a slightly rounded “step.” Te ronts have a gradual curve below the lower button. Side pockets are jetted, with flaps. Te waist is moderately defined, and the hips are airly close. A medium amount o “ drape” is provided.
M�������: ��” ashion waist; ��” length; �¾” hal-back; ��” chest; ��” waist; ��” seat.
Working scale is ½ Chest—��”. I����������� ��� D������� Square both ways rom �. � rom � is the scye depth—in this case �½”. (Tis may be computed at ½ scale plus ½”.) � and � rom � are the ashion waist and ull length, respectively. � is mid-way �–�; � is mid-way �–�. �� rom � is ¾”. Te back-seam is drawn rom � through �� to the bottom; it is seamed in the mark. � rom � is �⁄� scale plus ¼”. � is squared up ¾” rom �. � rom � is the ½-back plus ½”. Square up to � and down to ��. �� rom � is ⅜”; �� rom �� is ¾”. �� rom �� is �¼”; � rom �� is ¾”. Join �–�� or the shoulder-seam and ��–� or the back scye, making ¼” “step,” as shown. �� rom �� is �⁄� waist plus �”; �� rom the bottom o back-seam is ⅓ scale plus �”. Curve the back side-seam, as indicated. �� rom the back-seam at � is ⅔ scale; �� rom �� is �⁄� scale plus ¾”. �� rom the back-seam at � is ½ chest plus �½”. Square up rom �� to locate �� on the line rom �, and make the neck-point ½” below ��. Draw a guide line rom it to � and make the width o orepart shoulder ½” less than that o the back; drop point �� ⅝” below the guide line. Square up �” rom �� to �� and curve the scye ½” inside this point, round to ��, as indicated. Te top o the orepart sideseam will overlap that o the back to the extent o nearly �”, thus providing the back “drape” allowance. Te base o the scye is ⅜” above the chest line.
�� is about �⅜” rom ��; �� is ¾” rom ��. Te waist may be checked by measuring rom �� to �� on the back, placing this amount on �� and measuring to ��—½ waist plus �”. Te allowance or ront edge at �� is �¼”. Square down rom �� to �, as a guide or the ront o underarm dart, and locate the ront dart at �½” orward rom �.
Te suppression at these darts should be about ⅝”, or according to taste. �� rom �� is �”; connect with ��. �� is located on the junction o the line squared rom � and the centre line; it is used as a guide or the run o gorge. Te step o lapel is about ¾” below ��. Shape the lapel, as shown, and complete the draf.
DIAGRAM 71.
WES END MODELS D.B. R����� J����� Diagram ��
W
ES End models o this popular style o garment are conservative in character. Te shoulders have nothing excessive about their contours; a natural line rom the neck is preerred. Te sleeve-heads are not exaggerated. though the crown is airly high and narrow. Collar and lapel are o moderate width, and the ormer is not high in the stand. Jetted side pockets, without flaps, are most requently seen. Te style shown here is the button-two. Sometimes the ronts are arranged with a long roll, giving the button-one-show-two model; at other times the two-show-three is adopted. Te measures or this draf are the same as those or the lounge jacket; the main construction, also, is exactly the same as in the preceding draf. Te differences are:
�� rom �� is �⁄� scale plus �”. Te ront edge is �½” beyond the centreline ��–��–��. �� rom �� and �� rom �� are each �”. � is located on the line squared rom �, a distance o �⁄� scale plus �” rom the line ��–��. Connect ��–� and make � rom � on this line �”. Shape the gorge and lapel. as shown. and complete the draf.
DIAGRAM 72.
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GENLEMEN’S GARMENS
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E������-����� C���
Diagram ��
I
N no other garment, probably, is there such scope or the cutter’s skill as in this one. Many o the finest examples o evening-dress wear have come rom houses in the West End; and London is proud o such work. Tis draf gives an excellent idea o the style eatures now being adopted. Te long sweeping lapels, relatively short ronts, the tapering skirt-these are the main points o style that should be noted.
M�������: ��” natural waist; ��¾” ashion waist; ��” ull length; �¾” hal-back; ��” chest; ��” waist; ��” seat.
Working scale is ½ Chest—��”. I����������� ��� D������� Square both ways rom �. � rom � is the scye depth—ound in the same way as or the lounge and reeer. � rom � is the natural waist; � rom � is the ashion waist. � rom � is ull length. � is mid-way �–�; � is mid-way �–�. � rom � is �⁄� scale plus ¼”; � is squared up ¾”. �� rom � is �”. Draw the upper part o the back-seam rom � to ��. and continue to the bottom �” inside the construction-line as indicated. Te upper part o back is seamed in the mark. � rom � is the hal-back plus ¼”. Square down to �� and up to ��; � rom �� is ⅝”; �� rom � is ¾”. �� rom � is ¾” and is ¼” clear o the line ��–�–��. Draw the back shoulder-seam rom � to ��; and back scye rom �� to ��. �� rom the back-seam at � is �½ . �� rom �� is �”.
Connect ��–��–��, and continue down or pleat. �� rom �� is ½”; �� rom �� is �½”. ��� is ⅜” below the ashion waist lme. At �� open the side-body, as shown, and make a small “step”; then connect to points ��–��–��� . � rom �� is �⅝”; � rom � is �⅜”. �� rom �� is �⅜”. �� rom �� is ⅛ o ull waist measure. Connect �–�� by a gradually curved line, as shown. �� rom the back-seam at � is ⅔ seale. �� rom �� is �⁄� scale plus ½”. �� rom the back-seam at � is ½ chest plus �¾”. Square up rom �� to locate �� on the line rom � and make the neck-point ½” below ��. Draw a guide line rom neck-point to ��. and use this or the orepart shoulderseam, ½” less than the back one, dropping point �� about ½”. �� rom �� is �”. Curve the scye rom ��, coming ¾” inside ��, round to �.
At this point there is an overlap o ½”. Te base o scye is ⅜” above the chest line. �� rom �� is �”. Curve the side-seam o the orepart rom the “step” at � to �� and beyond. Square down rom �� to ��; curve rom �� to ��, which is located on the line rom � and is �⁄� scale plus �½” rom the line ��–��. Mark E, end o lapel, �” above �� and ½” outside the line. �� rom �� is �¼” and ¾” inside the line. � is ¾” below ��; shape gorge and lapel as shown. Square down �½” rom ��� to ��. �� rom �� is �⁄�� seat scale (��½”) less ⅝”. �� rom �� is �”; �� rom �� is �½”; �� rom � is �¾”. Connect ��–��–�. Mark �� up rom �� on a slanting line, �¾”. �� is �” rom � and is ¾” below the line. With these various guide lines shape the skirt, as indicated. ake out darts at � and ��, as shown, and complete the draf.
WES END MODELS
DIAGRAM 73.
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GENLEMEN’S GARMENS
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S����� S�����
Diagram ��
S
LEEVES drafed by this method will be suitable to each o the preceding drafs. Style modifications, such as widths o cuff and elbow, can reaaily be made. Construction is based on the scye o the coat—as will be seen rom the diagram. I����������� ��� D�������
Draw the line �–�–�, marking � as the elbow and � as the ull length. Tese amounts are fixed according to the measures taken, less the width o ½-back, and with the customary seam allowances. � rom � is the distance between the back pitch and the chest line-see the coat drafs. � rom � is ½ scale (��”) less ½”. � is mid-way between � and �; � is midway between � and �. Square up rom � to �, level with orepart shoulder point, and connect �–�.
(On the latter line a check may be made by measuring rom � to � the same distance as that taken by a diagonal line drawn rom the ront pitch to point �� on the coat drafs.) Shape the sleeve-head rom �, through �, to �; the contour at the ront being about �” away rom the run o ront scye. Square rom � to �, and go up ¾” rom the latter point to �—the true hollow o elbow.
DIAGRAM 74.
Square rom � to � and make �� about �” above � and ½” in rom the line squared down rom �. Te cuff width, �� to ��, may be made according to style. In this case it is narrow and will finish a ��” cuff. Curve the hindarm rom � to ��. putting on a slight “round” at �; shape the orearm rom �, through a point �” in rom � to ��. Sweep in rom � or the top o underhal about �½” and shape as indicated. Complete the sleeve draf.
C������ XX
GENLEMEN’S GARMENS ROUSERS MAKING By PHILLIP DELLAFERA (Principal o the” ailor and Cutter” Academy)
F
IRS o all put in mark-stitches to indicate the inlays that are usually added at leg and side seams o undersides also seat-seam and sometimes at the pocket mouths o topsides. For permanent turn-ups it is desirable to leave on �½” to �”, but when the necessary length o material is not available a smaller amount will have to suffice.
Diagram �� (�) illustrates the topsides. wo pleats are marked at top ; a pocket acing is added rom waist to about �½” down, whilst the turn-up is located by parallel lines at bottom. Te “dress” has been taken out at ork by the cutter, and tack position is indicated by notches. Hip-line, knee and leg length are also notched. Diagram �� (�) shows the undersides with inlays at leg-seam, side-seam, and seat-seam ; waist dart is cut out. Notches are made at hip, knee, and bottom ; whilst turnup is also marked. Diagram �� (�) represents the waistband. Tis is a perectly straight piece o material about �” wide and long enough to make up the waist size plus �” or extension, i required. Te width o band is arranged by the cutter, who makes the necessary allowance at top o trousers. Diagram �� (�) is the fly. Tis is shaped in harmony With the outline o ork at topside. Tere are two sections, one or the button-holes and the other or the buttons. Te fly itsel is attached to the lef topside and the button-catch is sewn on to the right topside. DIAGRAM 75. ���
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GENLEMEN’S GARMENS
Beore starting the actual making-up. It is necessary to cut out certain pieces o lining and linen or various purposes. First o all there is the crutch stay. Tis consists o a square piece o linen (Diagram �� (�)) about �½” each way. It is olded over cornerwise and slightly stretched at the crease edge, producing a doubled over triangular stay as shown by Diagram �� (�). Ten a piece o linen, the same shape as the fly, is required or button-hole stay. wo pieces o lining, artificial silk or silesia, the same shape as the fly, are wanted or making up the fly ; two strips o linen or each pocket mouth ; a piece o canvas or button-catch stay. Strips o canvas are also needed or tops, or waistband. Te pockets themselves are simply squares o ��” pocketing cut to shape. Now take the ork stays and baste or asten them firmly at the ork o both topsides, placing the straight edges at leg and ork seams. Te stays must be arranged so that they go well above the fly notches. Diagram �� (�) illustrates the preparation or making the fly. It will be observed there are three sections— the bottom, which is shown as the largest, is linen ; the intermediate portion is lining with right side uppermost ; whilst the third section is the cloth fly with right side acing downwards towards the right side o lining. Tese parts are cut the same, but are illustrated larger than each other so that they are easily distinguished. Tese pieces o material are joined together by a seam at the hollow edge, then they are turned out with right side o cloth uppermost, as shown by Diagram �� (�). Tis is the actual fly where holes are made. I an inspection o the fly is made, it will be seen that the top layer is cloth ; next is the linen stay or interlining ; whilst the bottom is the lining which is used to ace the fly. Now take the corresponding piece o fly lining and sew in on the fly-seam o lef topside, placing it on the right side o material so that it can be turned over to the inside afer it has been stitched at the edge.
Diagram �� (�) portrays the inside view o the lef topside, with fly lining stitched on and turned out. A strip o linen is attached at pocket mouth, whilst the pleats have been basted in position. When putting on the pocket stays the linen must be kept airly tight, as shown on the Diagram, and all loose material must be careully pressed away. Te pleats should be arranged acing towards the ront ; thereore they will appear to be acing towards the side-seam when seen on the wrong side o material. Having got so ar, the fly (which should have had buttonholes made) is placed on the inside o lef topside, as shown on Diagram �� (�). Te fly is basted ⅛” back rom the edge so that it does not show on the outside, and a row o stitching is made about �¾” away rom edge and takes the some “run” as the fly tapering off nicely at the bottom where tack IS finally made. Diagram �� (�) shows the inside o right topside. Pleats and pocket mouth are treated in the same manner as lef side, but, o course, the button-catch is added instead o the fly. Te hollow-seam o button-catch is sewn to the fly-seam ; this will throw a air amount o ullness at bottom ; but it is necessary to produce a clean-fitting ork. Te catch must have a lining o some description, and canvas or linen included or button-stay. I suggest that this stay should be cut on the bias, so that it will take the desired shape at bottom o button-catch. At this stage the pockets may be prepared, although they will not be required until side-seams have been sewn. rouser pocketing is usually ��” wide, and is olded over, making ��½” ; thereore cut off a length corresponding to the width, but not less than ��”. Diagram �� (�) shows the outline o pocket opened out and ready or stitching ; the various quantities are illustrated in inches, both lengthwise and in width. First o all, separate the two layers o pocketing and old each one with right sides o material acing each other. Now seam round each pocket to the point indicated by �” ; then turn out careully and finally stitch on the outside, as shown on Diagram �� (�). Te two edges o pocket must be turned in, both acing the same direction ; the bottom layer being astened to the topside o trouser, whilst the top layer is attached to the underside.
ROUSERS MAKING
DIAGRAM 76.
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���
Diagram �� (I) shows the lef topside joined at side-seam o corresponding underside, the seam extending or about �” rom the top, leaving a pocket opening o �½”, and continuing straight through to bottom. Te ullness at pocket mouth has been pressed away, and the side-seam is taken through the linen at top and bottom. Now press open the side-seams and sew on the waistbands.
GENLEMEN’S GARMENS Diagram �� (�) portrays the right leg with waistband seamed on and pressed open ; the waist dart is also sewn and pressed. Diagram �� (�) is the inside view o lef leg with band attached ; it has an extension. Te pocket opening is clearly indicated, whilst the fly is also included and is carried just above the waist-seam. It is rather difficult to show how pockets are put in, but a ew brie hints may help to simpliy this operation.
DIAGRAM 77.
ake the right pocket (Diagram �� (�)) and place it on Diagram �� (�), with point � alling at the waistseam and point � just below the bottom o pocket mouth. Now baste down the edge very firmly, making sure that each end is securely astened. Next, take the underside inlay at the pocket mouth, and pass It orward so that it goes between the two layers o pocket. It will now be ound that a “snip” will be necessary to make the pocket lie smoothly. Te “snipping” must not be too long, but only just enough to allow the pocket to set nicely between the layers o material.
ROUSERS MAKING
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Diagram �� (�) illustrates the right pocket in position. It is basted along the top ; a linen stay has been included or strength, and the “turning over” o the underside inlay is clearly shown. What really happens is that the inlay is taken inside the pocket to orm a acing, which is astened With a side-stitch as indicated at �, �, and �. Te top edge o waistband is turned in, canvas is included, and button-stay is also basted on the catch. Diagram �� (�) is a section o lef leg with extension band put on and pocket inserted. Tis is the same as Diagram �� (�) but, o course, in reverse. Pockets are not easy to make, but I eel certain that with a little patience and plenty o practice good results should be obtained. Machine pockets do not appeal to me, thereore I shall not try to explain the procedure. Whenever possible, leave an inlay on both top and
underside which can be used or pocket acings, thus avoiding the sewing o extra strips which make the edges thick and clumsy. Diagram �� (�) shows the outside view o the lef leg. Waistband, with extension, pleats, pocket mouth, and fly-stitching are all plainly illustrated and need no urther explanation. Diagram �� (�) is the outside o right leg. Waistband goes as ar as button-catch, whilst pleats and pocket mouth are clearly illustrated. Having finished the tops, the leg-seams should be stitched and pressed open ; these should be sewn by hand, i possible, because it is a stronger process and has more elasticity.
DIAGRAM 78.
DIAGRAM 79.
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GENLEMEN’S GARMENS
Diagram �� (�) depicts the right leg sewn and pressed open ; the balance notches being kept even at knee and bottom. o mark off the length o leg, measure rom crutch to line �–�, making it ¼” longer than the length required ; then draw another line �–�, �¾” below �–� ; and finally another line �–�, �¾” below �–�. Tis leaves �–�, to be used or the inside turn-up ; it is about ¾” or �” in depth. Now bring line �–� up to �–�, making a old at line �–�. Diagram �� (�) illustrates the inside view o trouser bottom ; it is turned up, as indicated on the previous Diagram, at line �–�. Te trouser leg will now be �” longer than the required measurement. Diagram �� (�) portrays the same leg section, with the actual turn-up inside and only the acing showing on the outside. In other words, this is the trouser leg turned inside out with turn-up and acing basted at the correct length. Diagram �� (�) shows the finished bottom with a �¾” urn-up basted in position. Both legs are finished in the same way, the tailor making sure that both turn-ups are the same width. Plain-bottom trousers require different treatment ; only a couple o inches are allowed or turning up. Te ront portion needs hollowing, and the back must be slightly longer, with a little round added. Although there is only one operation in turning up the bottom, this method is really more difficult because the elling, or cross-stitching, must be done more careully in order to ensure that the stitches do not show on the outside. Te shaping o such a bottom requires more skill than is needed or the permanent turn-up, which is perectly straight.
Diagram �� (�) shows the inside o the lower section o a plain-bottom trouser leg, with turn-up basted ready or elling or cross-stitching, the ront edges being raised slightly whilst the back has just a small dip. Te turning up o bottom acing may present some difficulty at the ront crease position, where it will need a small vee inserted in order to get the extra length. (See Diagram �� (�).) I the legs are wider than usual, it may not be necessary to put in this vee ; but this will be seen quite plainly when basting up the acing. Diagram �� (�) illustrates the outside appearance o the bottom, turned up. Note the raised ront and dipped back portion. When both legs are completed, the seat-seam should be joined ; this must be done with double-twisted thread, and by hand. Tere is always a great strain on the seat-seam ; thereore back-stitching by hand and strong thread are advisable. A small vent is made at top o seat-seam, about �” in length ; this will give the necessary “spring” at centre back. Afer the seat-seam has been finished, the bottom o fly should be firmly tacked, and finally “curtains” and waistbands put in. Tese are usually made rom striped silesia or sleeve lining, the “curtains” being placed below waist-seam and waistbands at the top.
ROUSERS MAKING
DIAGRAM 80.
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GENLEMEN’S GARMENS
Diagram �� (�) portrays the finished trousers with Diagram �� (�) shows the trousers without extension waistbands, buttons, and extension band ; this latter item band and with a ob pocket on the right side, astening being astened with a special flat hook and eye, or with with bole and button. hole and button. Te under portion o the waistband Diagram �� (�) illustrates what is called the “tunnel” may have a small button and bole or extra support. finish ; this is simply a slot made to take a normal belt which is astened with a buckle. It is ofen used in flannel trousers or leisure wear.
DIAGRAM 81.
C������ XXI
GENLEMEN’S GARMENS WAISCOA MAKING By PHILLIP DELLAFERA (Principal o the “ailor and Cutter” Academy)
F
IRS put in mark-stitches to indicate inlays, pockets, and position o button-holes; then cut out acings and welts. Te size o acing depends upon the available material, but it is always advisable to have one whole piece rom neck to bottom, where a join can be made. In this case the bottom acing has been lef on the orepart, thus avoiding a seam at bottom edge. Diagram �� (�) shows the back with centre-seam stitched; sideseam inlay is indicated by markstitches, and the dart at back waist is also shown. Tis dart is not cut out, it is simply sewn and pressed over on the inside. Diagram �� (�) is the orepart; the waist dart is cut out, pockets and holes are clearly indicated; whilst bottom acing is added below the mark-stitches, which show the actual bottom edge when finished. Diagram �� (�) shows the ront acing, which extends rom neck to the point where the bottom acing is turned up. Te acing should be cut with a little extra length or seam and making up.
Diagram �� (�) and (�) represent the two welts; these must be cut longer and wider than the finished size o pocket, and i striped or check material is used they should be careully matched. Particularly does this apply in the latter, in which the design must be made to correspond in both directions. Beore starting the actual making up, It is necessary to cut out linings, canvas or interlining, silesia pocketing, and a ew strips o linen which are used as “stays.” A dart must be taken out o the canvas in harmony with the orepart.
DIAGRAM 82.
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GENLEMEN’S GARMENS
DIAGRAM 83.
Diagram �� (�) portrays the inside view o right orepart; the dart has been seamed and pressed open. Te dart has been taken out so that a nicely shaped waist is produced, and also to give a good “breast” ; thereore do not attempt to press away the extra material which is obtained at the breast position. Te dart must be well pressed so that the top end is quite clean, but the “breast” should be retained. Te welts are simply straight pieces o material, and there are various methods o making them up. Some tailors sew on the actual welt first o all, and then attach the pocketing afer the welt has been pressed open; others sew the pocketing, together with a strip o linen, on to the welt beore it is stitched on to the orepart. Tis method is illustrated on Diagram �� (�). Te welt, together with linen and silesia pocketing, is sewn at the lower edge o pocket mouth, and a piece o silesia is attached above the pocket mouth. Te lower row o stitching is slightly longer than the upper; this difference is made so that when the opening is cut and the welt turned upwards, the seam will not show beyond the ends at back and ront o pocket. On this diagram the lower welt is represented as having been stitched minus silesia and linen; and the illustration shows how the seam should be made at the top edge. Make sure that the ends are firmly astened because when the opening is cut there is a tendency or the ends to pull out. Note the bottom edge o acing; this must be well stretched,
so that it turns up properly with the correct amount o “spring” at the top edge. Diagram �� (�) illustrates the outside view o right orepart; the top pocket is ready or the ends to be turned in. Tis is the most difficult part o making the pocket, and requires the greatest care. Te ends must be perpendicular when turned in. Each corner should be clearly finished and the tacking neatly done. Te dotted lines at top pocket show the angle which is required; these are parallel with the ront edge o orepart, and when all the ends have been turned in they should run in line with the marks shown in orepart. Te ends can be turned in by machine rom the inside o welt. Tis method produces a very clean finish, but requires a air amount o experience. Failing this, the ends must be turned in to the correct position, then elled, and finally tacked on the outside, afer cutting away the excess material which shows itsel on the inside o welt. Te ront end o welt is airly easy to finish off, because when it is turned in the part that is not required will slant downwards and will not be seen above the top edge o welt. Te back end is just the opposite; when this is turned in the extra piece will run upwards, and it is here that care must be exercised. Te top end must be gradually pulled in, so that the extra material comes just below the top edge o welt; then the tacking can be completed in the usual way. Te finished welt is shown on the bottom pocket.
WAISCOA MAKING
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DIAGRAM 84.
At this stage the canvas and interlining can be inserted as illustrated on Diagram �� (�), which shows the inside view o right orepart. Te interlining extends rom the shoulder-seam to the actual finished length o orepart. It need not be taken right across to side-seam; the dart must be in harmony with the one in the orepart. A strip o linen has been astened to ront edge and along the bottom, whilst the armhole is simply turned in about ½” and basted. When putting on the linen, it should be kept airly tight in the region o the breast, held just steady at neck, and slightly close at bottom edge, which is shaped. Te pocket tackings are shown through the canvas; this is done by putting in a ew stitches to keep interlining and orepart together. Tere is no need to take the outside tackings through the canvas. Te linen strips having been basted on the edges, they should be careully astened, as shown on Diagram �� (�), which illustrates the inside view o the right orepart with bottom acing turned up in position. It is advisable to turn up the acing to make sure that it has been stretched sufficiently; to get a good hollow shape at the bottom edge the acing must not be tight when turned up. It should extend to the ront edge and to the side-seam. Te next operation is to put on the ront acing. Tis is done by first o all sewing it to the bottom acing, which has already been added, and then basting it on to the orepart as indicated on Diagram �� (�). Tis diagram
shows the outside view o right orepart; the small joining seam is illustrated at bottom o ront acing, whilst the dart seam is shown at bottom edge. Beore basting on the ront acing the edge must be well pressed and all loose material careully pressed away. Te stitching on o acing must be done on the linen side, and the seam kept even-particularly at neck or opening, where any deective stitching will certainly show itsel. Diagram �� (�) portrays the acing stitched on, turned over, and basted, with the inner edge astened to the canvas by a loose serging stitch. When both oreparts have been completed, the edges must be well pressed and the shoulder slightly stretched. Tere appears to be some difference o opinion about stretching the shoulders. I certainly preer a slight stretching, even or the very narrow shoulder which some customers like because I ail to see how the waistcoat will fit nicely on the collar without the necessary “spring” at neck. O course, this “spring” can be obtained by slightly straining the neck; but the best result is obtained by stretching the shoulder-seam very slightly towards the neckpoint. Te orepart lining should now be inserted. Tis is depicted on Diagram �� (�) (right orepart). A pleat may be made rom shoulder to breast, or it may be taken through rom shoulder to bottom. In any case allow a air margin o ease in both directions.
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GENLEMEN’S GARMENS
DIAGRAM 85.
Diagram �� (�) is the lef orepart. An inside breast pocket is made with a flap which has a hole and button. Here a again the pleat may be taken to the bottom, i desired. Both oreparts being completed, attention must next be paid to the back an back lining. Diagram �� (�) illustrates the back; it is joined at centre darts are taken out, and straps are also included. Tere is n~ need or both darts and straps; but these are shown so that the alternative styles o finish may be seen. Either o these can be made, as desired. Now, just a word about the finish o back neck. Sometimes the lining is taken right up to the top, in which case the oreparts are finished as already shown, and the lining is cut about ¾” higher to make up the collar-stand. Another plan is to have a cloth back neck. Tis means that a strip o material must be either lef on or sewn on to make up the size o back neck, and the lining taken to within ½” o the top edge. Still another method is to have a back neck o lining. Tis is much thinner than cloth, but not quite so serviceable. Te back and back lining are cut the same shape, but the latter should be slightly smaller at the armholes so that the lining will not protrude beyond the edge o the back when the garment is ill wear.
Having prepared the back and sewn the centre-seam o the lining, both parts should be joined at the bottom edge, as shown on Diagram ��. Now comes the final socalled “bagging” stage, which is really the joining o the oreparts to the back. First o all baste each orepart at side-seams, taking care to leave a margin o back at top and bottom; this will make it possible to turn in a small portion which would otherwise show on the outside. Next, baste the shoulder-seams, bearing in mind the style o neck finish to be adopted. I the lining is to be taken up to the top edge, it must be basted right up to a position slightly beyond the neck o orepart so that it can be turned in to orm a continuous run with the neck. On the other hand, i there is a cloth or lining back neck, this should have been already added and joined at centre; in which case the back is only taken as ar as the notches marked on both oreparts. At this stage it will be possible to pick up the two oreparts, with the back attached, whilst the back lining hangs downwards. Now bring up the lining and baste side-seams and shoulders in the same way as the back, leaving the back neck and armholes open. Afer this, baste round the armholes, keeping the lining on the short side, so that it does not show on the outside when the waistcoat is turned out. Te actual “closing” consists o making one row o
WAISCOA MAKING
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DIAGRAM 87.
having been pulled out at back neck, the bottom and top o side-seams, together with shoulders, should be pulled out to the ull extent -and, i necessary, basted until the pressing stage. Te back must now be turned in at the neck, either at the edge, or just below it i there is a cloth neck-piece. Te lining treated in like manner. Pressing off, the next stage, is not a difficult matter. Te lining must be smoothed with a airly warm iron, and the oreparts damped to take off any “gloss” which may have been made. Te edge should be well pressed, the tailor making sure to remove the marks made by DIAGRAM 86. basting cotton. Te button-holes may be made at stitching at each side, the seam being made along the this stage (or they could have been put in beore the shoulder, round the armhole and finally down the side linings were inserted). Position o buttons should be —this operation being carried out at both sides. Afer ascertained beore they are put on. Usually, a mark is these seams have been made, it will be seen that the two made down the ront o the right orepart, indicating oreparts are contained in a “bag,” which is really the the edge o the lef orepart; in this case the best plan is back and back lining; and there is an opening at back to lay the lef orepart on the lef so that they are acing neck. Te oreparts must be careully pulled through each other, making sure that the position is correct. this opening; but beore this is done the back and back Ten scrape a piece o over the eye o each hole, thus lining should be “snipped” in the hollow o armholes. leaving mark or the centre o buttons. Tese should be Tis will prevent any tightness when the armholes are sewn on very firmly and with a good shank. turned out. Te “snips,” or cuts, need not be very long; Diagram �� shows the finished waistcoat with they should only reach to within a small margin o buttonholes made and the button positions indicated the seam and should be about �” apart. Te oreparts by mark-stitches.
C������ XXII
GENLEMEN’S GARMENS MAKING A LOUNGE JACKE By PHILLIP DELLAFERA (Principal o the “ailor and Cutter” Academy)
F
IRS o all make sure that all the main parts have been cut and properly marked-up; then put in markstitches to indicate inlays, position o pockets, number o holes, etc. Te acings and lining should now be cut out, allowing a air margin o ease at centre back, shoulders, and armholes. Te sleeve linings must be cut the same width as the sleeves, but it is advisable to allow a little extra or lengthening purposes. Tere must also be an addition at the top, or crown. Te side-pocket flaps and breast-pocket welt must be matched i there is a pattern or stripe in the material; especially those with checks, which may require matching in both directions—as mentioned in Chapter XXI. Diagram �� (�) illustrates the back. Mark-stitches are placed at neck and hem, whilst the centre-back seam has been basted or stitched as desired. Back pitch and waist line are notched. Diagram �� (�) is the orepart. Mark-stitches are placed at side-seam, round the shoulder, and along the crease edge o lapel; both pockets are marked; number and position o buttonholes are shown; waist darts are cut out. Front pitch and waist line are notched. Diagram �� (�) shows the top-sleeve with markstitches at cuff, indicating actual length. Make a small notch at alse orearm or the ront-pitch position. Diagram �� (�) portrays the under-sleeve. Tis is cut with an inlay down the hindarm-seam; thereore it will be necessary to put in a row o mark-stitches so that both sleeves are made the same size. Tis inlay may be let out i a wider sleeve is desired. Diagram �� (�) depicts the under-collar, which has a centre-seam; it will be necessary to mark the crease edge to correspond with the orepart. I there is a “gloss” on the material, it is advisable to damp the various parts o the jacket beore proceeding to put in the pockets.
Tis will save a lot o time later. I it is not done at the outset, the material will be patchy where pressing takes place during the process o making darts and pockets. Te damping should be done with a airly wet rag and a hot iron; it must be continued until the gloss is removed rom both layers o material. It may be necessary in some cases to damp both layers.
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DIAGRAM 88.
MAKING A LOUNGE JACKE P������ �� ��� P������
Te flaps should be cut to the required size, and the design o cloth matched, i necessary. Tey are then lined with the same material as used or the jacket lining. Te flap linings must be cut a shade smaller than the flaps themselves, so that they will not show on the outside. Tis effect is also achieved by keeping the linings airly tight when stitching round the edges. Beore the pockets are put in the under-arm and breast cuts must be sewn and careully pressed open, special attention being paid to the ends; these must be tapered off gradually and all loose material pressed away. Diagram �� (�) shows the inside view o the right orepart. Both darts are sewn and pressed open, whilst a strip o linen has been basted at the pocket; this will act as a “stay” or the pocket jetting. Te “stay” should be firmly basted on to the orepart, and must be well pressed beore the jetting is stitched on. It should be remembered that a air amount o ullness is thrown at the bottom o waist and breast darts; this should be pressed away beore the linen “stay” is attached. It will be noticed that the under-arm dart has not been taken right up to the armhole; this gives a little more ease, which is desirable at this part. Te linen “stay” is about �” wide, and o sufficient length to reach rom the side-seam to about �” in ront o the pocket mouth. Diagram �� (�) illustrates the outside view o right orepart. Te darts are well pressed, a section o linen “stay” protrudes slightly at side-seam, whilst pocket jettings are stitched at the correct position. Te jettings are about �” longer than the actual pocket mouth, and are cut lengthwise. Te stitching is made to the ull length o pocket, but the cutting through extends to within ¼” at each end. Both seams must be careully pressed open and the jetting passed through the opening on to the inside o orepart, the lower jetting turning downwards and the upper going upwards. Afer this, it will be necessary to make rows o stitching to keep the jettings in their proper place. Silesia should be attached to the jetting to orm the pockets, sewn round in the usual way. Diagram �� (�) illustrates the outside o right orepart, complete with jetting which has been astened on the wrong side. Quite a number o jackets have pockets
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without flaps, in which case the jettings are simply tacked at each end. Beore inserting the flap the exact width should be indicated by a chalk line, this being placed along the edge o jetting. Te actual astening or securing o the flap is accomplished by putting in a row o stitching on the inside or “wrong” side o orepart. As a matter o act, the flap could be secured by the same row o stitching that astens the top jetting. Both ends o pockets should be nicely tacked, the tailor making sure that a piece o linen is included at the back or strengthening purposes. Te finished outside appearance o the flap pocket is illustrated in Diagram �� (�).
DIAGRAM 89.
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Having completed the lower pockets, proceed with the outbreast welt. Tis is a different type o pocket, and requires two strips o material, cut at the proper angle and matched i necessary. Diagram �� (�) shows a section o the lef orepart with the welt and acing both sewn in position. Tis type o pocket is rather complicated. It is usually made on the slant, the ends being perpendicular; thereore special care should be taken when stitching on the strips o material. Te seam o the lower portion, or welt, should be a shade longer than the seam o the acing, and the ront end should be arranged so that the top row o stitching is at least ¼” arther back than the bottom row. Tis is necessary, owing to the act that the ront end o the welt really runs in a backward direction, and i both seams were the same length the opening would be seen beyond the end o the welt, and it would not be possible to cover it. Te back end o welt runs at a different angle, parallel with the ront; but owing to the slant o pocket the angles are set in different directions. Diagram �� (�) is the inside view o the lef orepart. Welt and acing have been stitched on, cut through, pressed, and finally passed to the inside o the orepart. Te silesia, or pocketing, illustrated in this diagram is actually sewn on to the welt. Tis is rather difficult to illustrate, but I will do my best to make the operation clear. With a little care it will be quite simple to pass the silesia through the pocket opening, at the same time making sure that the welt itsel lies evenly on the outside o the orepart.
GENLEMEN’S GARMENS Diagram �� (�) explains the previous instructions regarding the pocket. Te silesia is sewn on to the welt; the seam has been pressed open, leaving the ends ready to be turned in and tacked. Te welt may be cut rather wider than the finished size, so that a portion o material can be turned inside, thus allowing the silesia to come well down inside the pocket. Afer the pocketing has been passed through the opening, or pocket mouth, it will be necessary to attach an extra piece o silesia to orm the complete pocket.
Diagram �� (�) portrays the finished view o the breast pocket. Te ends are nicely tacked; corners should be neat and clean. I there is a stripe or check in the material, the welt will require special treatment. It is cut slightly on the slant and when the seam is taken off it gets ¼” lower, thus throwing the pattern out. Provision must be made or the prevention o this. Te best plan is to mark the correct position o seam on the orepart and welt, then allow the extra turning and baste in the chalk mark. An experienced workman knows at once what happens i the welt is a seam out o place, and adjusts it when he is basting in the welt.
DIAGRAM 90.
MAKING A LOUNGE JACKE C�����, L������, A�� F������
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represent the shape o “horse-hair” or double canvas Tis is the most important part in the making o a which is used to make up the shoulder. Sometimes a elt jacket and it is worth while spending a little extra time padding is also inserted. Diagram �� (�) gives the outline o this extra piece in preparing the canvas, which is really the mainstay o the garment. It must be remembered that a man’s o canvas, and a cut is made about �½” nearer the scye shoulder is partly hollow; in order to get a good fitting than in the main orepart canvas. Tis means that when garment the material must be made to fit this hollow by the extra canvas is placed on the main portion, the two shaping the canvas as well as the orepart. In these days cuts will run at the same angle, but will be �½” apart. a lot o shaping is not necessary, but the interlining, or Tese two cuts are opened out �” at the shoulder, thus canvas, must be prepared and given some “orm” beore producing a longer shoulder-seam and at the same time providing extra length at the scye and neck. Tese being attached to the orepart. Tere are various ways o obtaining the desired cuts are then filled up with small “puffs” o canvas, as shape, but I will deal with a method I have used mysel illustrated by Diagram �� (�); they are inserted between with considerable success. Te word “canvas” is used; the two layers o canvas and are padded together. Diagram �� (�) portrays the finished canvas or this will apply to both flax canvas and hair canvas. Te the lef orepart. Te breast dart is joined, the double ormer is illustrated in these diagrams. Diagram �� (�) shows the orepart laid on the canvas canvas has been padded to the main portion, and the Extra width is allowed at shoulder, scye, and neck, whilst “puff” is completed. Afer the canvas has been padded the breast dart is taken out at the same position as that (or stitched out by machine, as it is in some cases) it on the cloth. Te canvas is taken right through rom should be well pressed to ensure smoothness, care shoulder to hem and is about �” wide at the bottom. Te being taken, o course, to preserve the shape produced bottom o breast dart terminates at the waist, where �” is at shoulder. Tis is most important, as it is useless going taken out to nothing at the breast. Te dot-and-dash lines to a lot o trouble in producing a certain shape, and then destroying it by pressing the canvas fiat, or nearly so. A indicate the outline o canvas with breast cut taken out. “breast” can be put into the canvas by keeping the extra Diagram �� (�) illustrates the canvas, with a cut �” layer slightly tight rom � to �, and also by taking out a rom the neck-point extending �” downwards and air amount at the breast dart. parallel with crease edge o lapel. Te dot-and-dash lines
DIAGRAM 91.
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GENLEMEN’S GARMENS
Both canvases having been prepared, they are now ready or attachment to the orepart. Beore basting them in it will be necessary to stretch the oreparts at the shoulders so that they ollow the same shape as the canvas. Another good plan is to stretch the material slightly in the region o the breast, so that when the orepart is laid on the canvas or basting both will have something like the same shaping. O course. it is not likely that both shapes will be exactly the same; but they will have certain similarities, and they can finally be pressed into position. Just a word o warning. Do not try to put more shape into the material than is provided in the canvas; it will be sufficient i the cloth is stretched or shrunk to ollow the shape o the canvas. Diagram �� (�) depicts the inside view o the right orepart attached to canvas and joined to the back at the side-seam. Note the linen pocket “stays” at the back section o orepart, running into the seam. Te ront may be tacked through the canvas. Linen has been basted at the edge, corner o lapel, and also at the crease edge. Te amount o “drawing-in” must not be excessive, because coats are cut rather “straight” these days and do not
require a lot o manipulation. An extra piece o linen is included as a “stay” or the holes and buttons. I a firm lapel is desired, it will be necessary to include a piece o silesia. Tis is placed over the original canvas, the two being well padded together. It is important to make sure that the lapel curls nicely whilst being padded. Diagram �� (�) shows the outside view o lef orepart attached to a section o the back. Te lapel has been well pressed and shaped in readiness or the acing. It is rather difficult to give any hard-and-ast rule or procedure at this stage. In the better-class trades, jackets are made up in the method known as “open,” which means that each orepart is made up complete with lining and acing; then they are joined to the back. Next, the shoulder-seams are sewn and the lining is basted; finally, the collar is added. O course, the sleeves are always the final items. Ten there is the “semi-open,” which seems to be very popular because in it the machine can be used more extensively, thus helping to save time. I personally support this method, and will describe the usual procedure involved in its practice.
DIAGRAM 92.
MAKING A LOUNGE JACKE Make up the oreparts to the canvasing stage; then join the sideseams and shoulders, thus having the actual garment put together, minus the under-collar. Now prepare the lining, which should have been cut out and fitted at the beginning when mark-stitches were put in. Diagram �� (�) shows the lining and acing or the right orepart. Darts are taken out in harmony with the cloth; inside breast pocket is Jetted in and a small pleat included to compensate or the “puffs” in the shoulder. Now join both orepart acings and linings to the back, having made a small pleat at the upper part o centre back. It will now be seen that the coat itsel and the lining have reached the same stage and can be laid on each other, the acings being slightly larger than the lapels and armholes. Te ront edges below the lapel should be about level or, rather, a little smaller; the length o lining can be adjusted afer the coat has been basted out. Diagram �� (�) illustrates the right orepart section with acing and lining basted on. Note careully how the ullness has been arranged at point o lapel. Tis is another important item; it is necessary to allow extra width and length at this part, but it must not be excessive— nor should it be too little. Te correct amount can only be estimated by experience. Loose tweeds, or example, will require more than fine worsteds; varying degrees are suitable or intermediate types o material.
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Te requisite amount o ullness having been decided upon, the acing must be firmly basted; then all loose material is pressed away at the edges, and finally stitched. O course, the stitching is done on the other side o orepart, or, I should say, on the linen which has been astened at the edge. Afer the oreparts have been stitched, the edges must be pared away evenly all round, and finally turned and basted out. Tis term really means the basting out o the sewn edges o the orepart, turning up the hem, turning out points o lapel, and basting round the armholes. Diagram �� (�) illustrates the basted-out right orepart. Te lapel should be turned over according to the mark-stitches; acing must be astened to the canvas; bottom edge is turned up to length, whilst lining is basted about ¾” rom the bottom edge.
DIAGRAM 93.
GENLEMEN’S GARMENS
��� T�� C�����
Te various diagrams already shown illustrate sections o the jacket in various stages o make-up; no attempt has been made to show the completed garment. Diagram �� shows the first ull stage o the jacket. Te under-collar has been basted in and padded, bottom edge is turned up-in act, the coat is ready or the topcollar, sleeves, and button-holes. Tese are the last operations prior to pressing off. Now let me deal with the under-collar, which should be prepared afer the oreparts have been joined to the back. First o all the canvas has to be cut and shaped, as shown on Diagram �� (�). Here we see the melton under-collar laid on the canvas. Tis must be cut on the bias, with the arrow section running lengthwise or on the straight. Diagram �� (�) shows the two halves joined at the centre; it can be an ordinary seam pressed open, or lapped over and stitched. Te under-collar is also joined at centre and the seam pressed open; then it is attached to the canvas, well padded, and finally stretched at the outer edges-the sewing-on edge rather more than the all edge.
DIAGRAM 94.
Tis is plainly indicated on Diagram �� (�). Te stand and all are padded, whilst crease edge has a “drawing” thread to keep it “snug.” Te stand may be side-stitched i desired. Diagram �� (�) shows the under-collar with cloth uppermost, the stand turned over and shaped. Te under-collar is now ready to be joined into the neck o jacket. Whilst dealing with the collar, it may be wise to take the top-collar (Diagrams �� (�) and (�)) and stretch it to correspond with the under-collar. Tis preparation will make things easier when the top collar is being basted on.
DIAGRAM 95.
MAKING A LOUNGE JACKE Diagram �� (�) represents the neck section ready or the under-collar. Te mark-stitches indicate the neckline as marked on the material when the garment is cut out, but the under-collar is sewn ¼” below this mark. Diagram �� (�) shows the under-collar basted. Te stand section is plainly indicated, whilst the extra length at all edge is also shown. When basting in the collar allow plenty o length in the hollow o gorge at � and �, but keep it airly tight across back neck. A short collar is atal, but do not go to the other extreme and put in too much length or ullness. Te correct amount is rather difficult to assess, but a little practice and experience will soon help the tailor to judge the right quantity.
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Diagram �� (�) portrays the lef hal o the jacket with acing attached, lapel nicely shaped and turned over; the under-collar shows the padding stitches. At this stage the top-collar can be put on. It must be careully basted, allowing a little ullness at each end or turning over. See that the lapel and collar do not gape open; and last, but not least, shape the outer edge so that a good “line” is, obtained right round—but do not make the all o the collar too wide. Te top-collar is “drawn” across the lapel by hand; this operation being done very neatly, as the join shows on the outside.
DIAGRAM 96.
GENLEMEN’S GARMENS
��� T�� S������
Make a tack at the top o opening, and mark the Te sleeves are usually made with open cuffs and are positions o holes as required. Now prepare the lining, finished with holes and buttons. Sometimes imitation sewing up the seams in the usual way, and leaving the holes are adopted. o make the openings it is necessary hindarms open or a couple o inches at the cuff. Tis is to sew on small pieces o cloth or lining on the cuff done so that the lining can be kept clear o the opening, acing, so that they reach just above the top o opening. although I have seen the lining taken right round the Diagram �� (�) shows a section o the under-sleeve with cuff. Diagram �� (�) portrays the right sleeve turned inside a piece o material sewn on. Te cuff tack, put in later, out, with the lining basted round cuff. Note the extra ½” will pass through this piece. Diagram �� (�) is the corresponding top-sleeve, with at crown; this is necessary or making up. Diagram �� (�) shows the same sleeve turned out with material added or the opening. It does not really matter which seam is sewn first, either hindarm or orearm, lining inside and laid with the under-sleeve uppermost. but in any case the cuff acing must be turned up and Te final stage has arrived. Te sleeves have a definite position, which should be marked by notches or stitchthe opening sewn or a distance o about �” to �½”. Diagram �� (�) illustrates the bottom section o right marks, and these must be observed when basting in. sleeve (inside view). Te cuff acing is turned up to the Presuming the armholes are the correct size, the sleeves correct length, the openings are sewn out and turned must now be basted in, allowing ullness slightly all over, the orearm seam is pressed open, whilst a strip o round with just a little extra in the region o the shouldercanvas is placed in the cuff —this being cut on the bias. bone. Te ullness must not be excessive, and all loose material has to be pressed away beore the sleeves are Diagram �� (�) portrays a section o the sleeve finally sewn in. Te “hang” o sleeves is a matter which stitched at hindarm, the actual seam terminating at the requires attention. Tey should hang slightly orward, cuff opening. Tis must be careully pressed open and the orearm coming about hal-way across the flap o turned out as shown on Diagram �� (�). the pocket.
DIAGRAM 97.
MAKING A LOUNGE JACKE Diagram �� portrays the finished garment, which must be well pressed and hung up to dry off. Te button positions are mark-stitched in readiness.
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Te oregoing instructions are rather brie, but I have dealt generally with the most important items. Te chapter may be taken as a reliable guide to jacket making.
DIAGRAM 98.
C������ XXIII
GENLEMEN’S GARMENS HE SPORS JACKE By H. J. WEAHERILL (Messrs. Bailey & Weatherill, Ltd., London, W.1)
F
EELING that the Sports Jacket is ar too requently treated as the “Monkey’s Orphan” o the tailoring trade, I approach this article more or less in the deence o that ofen abused garment. Do we afford this particular garment the appreciation it deserves? Or, or that matter, do we realise the psychological role it fills in our lives? A client will always judge a tailor by how he eels in the made-up garment. And what garment gives a greater eeling o ease (and consequently greater respect or the tailor) than the beloved and comortable jacket we don or that walk with the dog ; that inormal evening by the fire with a good book ; that riendly round o gol. Te shape o the scye, the width o the back, that subtle something that makes his coat a thing apart—these are the actors which determine the esteem o a customer or his tailor.
Far be it rom me to advocate that women should choose their men’s clothes, but I do eel that the sports jacket is the one garment that should have their blessing ; or i it ails to please the emale o the species, then our efforts to produce a good coat will have been ruitless. She will continually criticise everything about it (including the style and the colour), and her dislikes may quite easily be the means o our losing a good customer. It is well known that certain tailoring establishments have become amous through the medium o a good sports jacket ; by creating their own pet styles, such as pivot sleeves, darted backs, Raglan shoulders, tab-collars, etc. And there is no doubt that on these particular garments the tailor has endless scope or his artistry. . d t L , l l i h r e h t a e W d n a y e l i a B f o y s e t r u o c y B
SPORTS JACKET DESIGNED BY H. J. WEATHERHILL. ���
